
(kite 



Book 



COPYRIGHT DEPOSIT 



STRING FIGURES 




'LIGHTNING.' 



STRING FIGURES 

A STUDY OF 
CAPS-CRADLE IN MANY LANDS 



BY 

CAROLINE FURNESS JAYNE 



WITH AN ETHNOLOGICAL INTRODUCTION 

BY 

ALFRED C. HADDON 

M.A., Sc.D., F.R.S., F.R.G.S., F.Z.S., M.R.I.A. 
Cambridge, England 



ILLUSTRATED 



NEW YORK 

CHARLES SCRIBNER'S SONS 

1906 






LIBRARY of CONGRESS 
Two GoDies Received 

FEB 23 '906 

<j£oaprieM Entry 
ICLAM (X 'XXfc. No. 

133 i to 

' COPY B. 



4* 



Copyright, 1906, by 
CHARLES SCRIBNER'S SONS 



Published, February, 1906 



TROW DIRECTORY 

PRINTING AND BOOKBINDING COMPANY 

NEW YORK 



6° 



.tftf 



PREFACE 

THIS book may be regarded as an introduction to the study of String 
Figures — games which are widespread among primitive peoples, and 
played by weaving on the hands a single loop of string in order to 
produce intricate patterns supposed to represent certain familiar objects. I have 
gathered together the facts already known concerning these games, and, adding my 
own studies and the unpublished records of other observers, I have here described 
and illustrated the methods whereby about one hundred string figures are made. 
My purpose has been twofold : to interest other students in the subject, in order that 
additional figures and their methods may be collected among various tribes and 
races; and to reach a still larger public, that more people may share in the fas- 
cinations of the games themselves. The games are certainly fascinating, appealing 
as they do to young and to old, and to those debarred from all pastimes demand- 
ing, physical exertion. Moreover, they are not unduly difficult; and, capable as 
they are of infinite variations, their charm ought to be inexhaustible. 

It gives me great pleasure to express my thanks to Dr. Alfred C. Haddon, of 
Cambridge, England, who first interested me in the subject by teaching me the 
games he had collected, for the permission to use his photographs and unpublished 
notes; to my brother, Dr. William Henry Furness, 3rd, for the string figures from 
the Caroline Islands, for the finished patterns from the Marshall Islands, for photo- 
graphs, and for aid in collecting new figures; to Mr. S. Chapman Simms, of the 
Field Columbian Museum, Chicago, for assistance in studying the games of the 
North American Indians and the African Pygmies at the St. Louis Exposition, 
and for photographs of natives under his charge; to Dr. William P. Wilson, 
Director of the Philadelphia Commercial Museum, for the opportunity of collect- 
ing games on the Philippine Reservation at St. Louis; to Dr. George B. Gordon, 
Curator in the Philadelphia Free Museum of Science and Art, for the Eskimo 



vi PREFACE 

and Indian games which he secured for me during his recent trip to Alaska; to 
Mr. John Lyman Cox, of Philadelphia, for figures collected at the Indian School 
at Hampton, Virginia; and to Mrs. Morris Cotgrave Betts, for her skill and 
accuracy in the drawings. 

Without constant aid and encouragement from my husband, Dr. Horace Jayne, 
I should never have written this book. 

Caroline Furness Jayne. 

Philadelphia, October, 1905. 



CONTENTS 

PAGE 

Introduction. By Dr. Alfred C. Haddon xi 

CHAPTER I 

Distribution of String Figures — Native Names — Methods First Recorded — Ethnolog- 
ical Value of String Games — Relations of Finished Patterns Made by Different 
Races — Relations of Native Methods — How String Figures are Made — Different 
Openings — Nomenclature Adopted — Typical Movements Described — Explana- 
tion of the Descriptions and the Drawings i 

CHAPTER II 

Opening Movements, Known as First Position and Opening A — Figures Begin- 
ning with Opening A — An Apache Door — Fighting Head-Hunters — A Sunset — 
Osage Diamonds — Osage Two Diamonds — Dressing a Skin — A Fish-Spear — 
A Sea-Snake — A Kingfish — Bagobo Diamonds — Bagobo Two Diamonds . .10 

CHAPTER III 

Figures Beginning with Opening A (Continued) — Many Stars — An Owl — A Second 
Owl — A Third Owl — Seven Stars — Two-Horned Star — Two Coyotes — Big Star 
—North Star— Carrying Wood— Owl's Net— Two Elks— A Rabbit— The Sun . 48 

CHAPTER IV 

Figures Beginning with Opening A (Continued) — A Well — Fence Around a Well — A 
Crab — A Trigger Fish — Rattlesnake and a Boy — Two Skunks — Two Foxes — Two 
Squirrels — Leashing of Lochiel's Dogs — Two Hogans — A Cariboo — A Circle — 
Two Stars — Casting the Fish-Spear — An Arrow — A Porcupine .... 85 

CHAPTER V 

Figures Beginning with Opening A (Continued) — A Caroline Islands Catch — Circles 
and Triangles — Ten Men — A Variation of Ten Men — Caroline Islands Triangles 
— Carrying Money — House of the Bios-Bird — Three Stars — No Name — Coral — A 
Man — Two Chiefs — A Man and a Bed — A Palm Tree — A Canoe with Two Masts 
— A House — Figures Beginning with a Modification of Opening A — W — M . . 142 



viii CONTENTS 



CHAPTER VI 



Figures which Do Not Begin with Opening A — A Bow — Lightning — A Butterfly — A 
Worm — Twin Stars — A Lizard— Little Fishes — Storm Clouds — One Hogan — 
An Apache Teepee — Tallow Dips — One Chief — Caroline Islands Diamonds — A 
Turtle — Ten Times 212 

CHAPTER VII 

Figures which Do Not Begin with Opening A (Continued) — Pigmy Diamonds — A 
Mouth — Two Little Boys Running Away — A Little Fish that Hides in the Mud — 
A Little Boy Carrying Wood — A Second Worm — A Brush House — A Six-Pointed 
Star — The Breastbone and Ribs — A Bird's-Nest — Two Boys Fighting for an 
Arrow — Flint and Steel — The Real Cat's-Cradle 276 

CHAPTER VIII 

Tricks and Catches — A Torres Straits Lizard — Hanging — The Mouse — A Dravidian 
Trick— A Finger Catch — A Fly on the Nose — A Thumb Catch — Will You have a 
Yam? — Threading a Closed Loop — A Saw Mill 337 

CHAPTER IX 

A Few Eskimo and Indian Games from Alaska — Figures Known only from the 
Finished Patterns — Nauru Figures — Eskimo Figures — Hawaiian Figures — A 
Zufii Figure — Australian Figures 358 

CHAPTER X 

Geographical Distribution of String Figures — A Few Invented Figures — The Scarab — 
The Lozenge — The Square — Variation of Coral — Two Dolphins — Variation of the 
Crab — Second Variation of Ten Men 386 

Bibliography 396 

Index 399 



ILLUSTRATIONS 
"Lightning" Frontispiece t 

FACING 
PAGE 

Lena Smith, a Jicarilla Apache 12 

Pasi, a Mamoose, or Chief, of Dauar, Torres Straits 16^ 

Charles Michelle, an Osage Indian of Pawhuska, Oklahoma 24 • 

Waria, a Mamoose, or Chief, of Mabuiag, Torres Straits 40 

Zah Tso, an Arizona Navaho of Gallup, New Mexico 54 , 

Two Natives of Murray Island, Torres Straits . \ 86 ^ 

Stone Money of Uap, Western Caroline Islands 160 

Dakofel, a Uap Girl 168 

Lemet, a Uap Woman , 176 v 

A Native of Port Moresby, New Guinea 234 

Darcia Tafoya, a Jicarilla Apache 246 / 

Uap Children Playing "The Turtle' - 266 

Ottobang, a Cannibal Pygmy, Kasai Valley, Congo, Africa 276 . 

Chief Zaroff, an Alaskan Eskimo 282 

Two Uap Boys 320 

Two Natives of Murray Island, Torres Straits 338 



INTRODUCTION 

IN Ethnology, as in other sciences, nothing is too insignificant to receive atten- 
tion. Indeed it is a matter of common experience among scientific men that 
apparently trivial objects or operations have an interest and importance that 
are by no means commensurate with the estimation in which they are ordinarily 
held. 

To the casual observer few amusements offer, at first sight, a less promising 
field for research than does the simple cat's-cradle of our childhood; and, indeed, 
it is only when the comparative method is applied to it that we begin to discover 
that it, too, has a place in the culture history of man. 

As a child I had played cat's-cradle and had seen various string tricks, but it 
was not until the year 1888 that I saw in Torres Straits some of those elaborate 
string figures of savage peoples that put our humble efforts to shame. I found that 
a couple of natives do not play together as we do, "taking off" from each other, but 
that each plays separately, though in exceptional cases two players may be required 
to construct a particular figure. They can make much more intricate devices than 
ours and the manipulation is correspondingly complicated, toes and teeth being at 
times pressed into service; on the other hand, although many figures pass through 
elaborate phases in the making, the final result may be simple. 

Travellers in various parts of the world have had a similar experience. We are 
informed that these figures are much more complicated than are ours, and they 
represent various natural and artificial objects in a state of rest or motion. 

Occasionally a fist has been published of some of the figures made by a par- 
ticular people, and in rare instances with illustrations of the completed figure. So 
far as my information goes, Dr. Franz Boas (1, p. 229)* was the first to publish a 
descriptive account of the method employed by a primitive people in making any of 
these figures; unfortunately he gives descriptions of but two of the five Eskimo 

* For the full title of a work referred to in parentheses after an author's name consult the bibliogra- 
phy at the end of this volume. Other references are to pages of this book. 

xi 



xii INTRODUCTION 

figures he illustrates. Mr. Harlan I. Smith (p. 282, Fig. 270) has published sketches 
illustrating the various stages in the making of two string figures of the Salish Indians 
of Thompson River, British Columbia. 

It became evident to me that no progress could be made in the comparative 
study of string figures and tricks until a definite nomenclature had been devised 
which would indicate with precision all the stages involved in making a figure. 
A second visit to Torres Straits afforded me the requisite opportunity, and Dr. W. 
n. R. Rivers and I (p. 146) managed to devise a method of recording string figures 
and tricks which enabled us to write down some thirty Papuan examples. Since 
then the nomenclature has been adopted for the recording of the string figures of 
other peoples, and now my friend Mrs. Jayne has simplified our procedure and has 
produced this elaborate volume, w'hich will enable any one to indulge in this fasci- 
nating amusement. Not only has she added a new joy to life, but this book will 
undoubtedly be the means of considerably increasing our knowledge of the forms 
of the game and their distribution, and therefrom we may hope for more light 
upon the various problems that await solution. 

On making a general survey of string figures, or, to adopt the English colloquial 
term, "cat's-cradles," it seems that they fall into two main groups; but as our knowl- 
edge increases we may find that this generalization will have to be somewhat modified. 
In the European and Asiatic type two strings pass around the back of each hand, 
and the crossing loops are taken up by the middle fingers. In the Oceanic and 
American type there are no strings at the back of the hand, and the crossing loops 
are taken up by the indices. The former invariably requires two players, while 
one person suffices for the usual figures of the latter type. I propose to designate 
these two types as the Asiatic and the Oceanic respectively. 

ASIATIC TYPE 

In Korea, according to Culin (2, p. 30), " cat's-cradle is usually played by girls. 
The figures, which are the same as in our own children's play, are named as follows : 
1, Cover for hearse; 2, chess-board; 3, chop-sticks; 4, cow's eyeball; 5, rice-mill 
pestle." The game is called "woof -taking." 

My friend Dr. H. H. Weir informs me that "the Koreans play cat's-cradle 
almost as in England, but there are two actions with which I am not familiar. The 
first six figures are as in England, but 6 (cat's-eye) is made into a new figure which 
reverts to 3 (candles)." 



INTRODUCTION xiii 

"In Japan," according to Culin (2, p. 30), " cat's-cradle is called aya ito tori, 
'woof pattern string- taking.' The figures are identical with those in Korea, but 
receive different names: 1, Unknown; 2, a mountain cat into which a domestic cat 
is supposed to transform itself; 3, a musical instrument, or the two pieces of 
wood under the sole of clogs; 4, horse-eye; 5, a musical instrument." 

Culin (2, p. 30) states that in southern China cat's-cradle is called "well-rope." 
It is spoken of as an amusement of girls, but is known to most Cantonese labor- 
ers; they make the same figures as those of Korea and Japan. Miss Fielde (p. 
87) says that the children of Swatow play cat's-cradle precisely as do the chil- 
dren in America and Europe; but the Chinese call it "sawing wood," in allusion 
to the final act in the performance. 

This last statement evidently refers to a figure which is made thus: make the 
"manger," or "inverted cradle"; the other player picks up one of the straight strings 
in the middle, passes it under the other, and holding the latter in the middle, draws 
these two strings as far apart as possible; the first player releases all the strings 
except those on the little fingers ; the two players make sawing movements with the 
strings. I have an impression that this figure is played in England. 

"Sawing Wood" was taught to me by Zia Uddin Ahmad of Trinity College, 
Cambridge, who said it was known in Delhi and Lucknow under the name of 
Qainchi, " scissors." It is made thus : Opening A (cf. p. 11), the other player passing 
his left hand over all the strings, pulls the straight little-finger string toward the 
original player, and with his right hand, under the remaining strings, pulls the 
straight thumb string toward himself; the first player releases all but the index 
loops; the sawing movement can then be made. This figure and the trick described 
on p. 345, and one very similar to "The Lizard" (p. 337), which Dr. S. Levinstein 
taught me, are all the string games that I have yet heard of from India. A Scottish 
method of making this figure is described by Maclagan (p. 190), the two opera- 
tors chant alternately : 

"See saw, Johnnie Maw, 
See san, Johnnie man." 

East Indian Archipelago. A. R. Wallace (p. 183) tells us: "One wet day 
in a Dyak house [Borneo], when a number of boys and young men were about me, 
I thought to amuse them with something new, and showed them how to make 
' cat's-cradle ' with a piece of string. Greatly to my surprise, they knew all about it, 
and more than I did ; for, after I and Charles had gone through all the changes we 



xiv INTRODUCTION 

could make, one of the boys took it off my hand and made several new figures, 
which quite puzzled me. They then showed me a number of other tricks with 
pieces of string, which seemed a favorite amusement with them." De Crespigny 
(p. 344) writes of the Dusuns of Borneo: "Near me were two children playing 
at cat's-cradle exactly as I remember to have played it in my childhood." This 
precisely coincides with my own experience in the same island. 

When I visited the Philippine Reservation at the St. Louis Exposition, in 
1904, I played cat's-cradle with some of the natives, and I found they played in the 
same manner as we do. My time was too limited to learn the names of the figures 
or to see what others they knew. Mrs. Jayne was more diligent, and she learned a 
few new figures from some of the natives. It will be noticed that the Bagobo 
Diamonds (pp. 43, 46) begin with Opening A. Schmeltz (p. 230) says girls are 
skilled at this game in Soerabaja in Java, and he states that Matthes records it 
as a very favorite child's game among the Macassarese and Bugis of South Celebes. 
It is called toekd-toekd, "the ladder game," derived from totkd, "steps." We have 
no indication whether this is the Asiatic or the Oceanic type. 

Europe. So far as I am aware no description of the British form of cat's- 
cradle has been published sufficiently explicit to enable one to play the game thor- 
oughly. Mrs. Gomme in her excellent monograph (p. 61) gives illustrations of the 
figures, and states they are produced seriatim as follows: 1, Cradle; 2, soldier's 
bed; 3, candles; 4, cradle in versed or manger; 5, soldier's bed again or diamonds; 
6, diamonds orcat's-eye; 7, fish in dish; cradle as at first. Other English names 
are barn-doors, bowling-green, hour-glass, pound, net, fish-pond, the lady's bed, 
fiddle ; but it is not clear to what figures all these names refer. Three or four figures 
are described and figured by E. Nister (p. 73), but he does not describe the whole 
series, neither does he give names to any of the figures. 

I have heard of cat's-cradle from Denmark, Germany, Austria, Switzerland, 
France and Netherlands, but details are lacking. 

My friend, Miss B. Freire-Marreco, informs me that a Dane of her acquaint- 
ance does exactly the same as in the English cat's-cradle though giving different 
names to the various figures; they are as follows, the English name preceding the 
Danish: 1, Cradle, cradle; 2, church- window, unknown; 3, pound of candles, 
mirror; 4, cradle, cradle; 5, soldier's bed, hour-glass; 6 [7, ?], fish in dish, whale. 

De Cock and Teirlinck record Afpakken: Dradenspel ('Taking off: String- 
game ') from Molenbeek-Briissel; they give three figures illustrating the method of 
making the cradle and three figures from Mrs. Gomme. They add the following 



INTRODUCTION xv 

information : " In Germany it is also known under the name of Abheben (' Taking 
off '), Faden-abheben (' Taking-off strings '), and Fadenspiel (' String-game ')• The 
figures are variously named; in Brabant they are known as Wasser (' Water '), die 
Schere ('Scissors'), die Geige ('Fiddle'), die Wiege ('Cradle'), (cf. Georgens, Sp. 
fur Knaben, bl. 263). Andree (Braunschw. Volkskunde) calls it Hexenspiel 
('Witch's game'), and Au}~ und abnehmen (' picking-up and taking-off'). In the 
neighborhood of the town of Nantes it is known as la scie (' Saw ') ; the best known 
figures are called: le berceau ('Cradle'), les chandettes ('Candles'), les carreaux 
(' Squares '), les ciseaux (' Scissors '), etc. (R. des Trad. pop. XIII, 15.) " 

OCEANIC TYPE 

There is no need to give all the references by travellers of the occurrence of 
cat's-cradle over this vast area, but the following will suffice to indicate its universal 
occurrence : 

Australia. Eyre (p. 227) refers to the "varied and singular figures" made by 
the Australians and remarks that "our juvenile attempts in this way are very 
meagre and uninteresting compared to them." Bunce (p. 75) says: "Some were 
playing with a puzzle made of string, 'Cudgi Cudgick? This puzzle was played 
between two individuals and required two pairs of hands, in the same manner as 
the juvenile game of 'cat's-cradle' common to our own country." It is not clear 
from this description whether they played as we do or whether, as elsewhere in 
Australia, two people are required to make some figures. 

Roth (p. 10) has paid more attention to this subject than any one else in Aus- 
tralia. He states: "With any fair length of twine, adult women and young children, 
of both sexes, will often amuse themselves for hours at a time. It is thus used in 
the form of an endless string to play the game known to us Europeans as ' cratch- 
cradle.' Thus played with, it is met with everywhere throughout North Queens- 
land. In some districts it is even indulged in by adult men; it is the women and 
children, however, who are most partial to it. Some of the figures are extremely 
complicated, passing through at least eight or nine stages before completion. During 
the process of manufacture such a one requires not only the hands, but even the mouth, 
knees, etc., to make the different loops, twists, and turns. In addition to variations 
in complexity, certain of the figures may be made with two endless strings, while 
to complete others again it may be necessary to have one or even two assistants. 
Strange to say, similar figures may be met with at distances extremely remote, with 



xvi INTRODUCTION 

and without similar interpretations. Occasionally the endless string may be arranged 
on the flat, or on the ear." Dr. Roth has given careful drawings of seventy-four 
North Queensland cat's-cradles and to most he has added a small figure to illustrate 
the original object which is copied, but unfortunately he does not give any indication 
of how they are made. My friend, Mr. W. Innes Pocock, has, however, been able 
to discover ways in which many of these figures can be constructed; these I hope 
will be published by the Anthropological Institute of London in Man. One (pi. V, 
Fig. 6), which is called a "Duck in Flight," is the same as the Torres Straits 
"Casting the Fish-spear" (p. 131). 

New Guinea. Turner (p. 483) was the first to record cat's-cradle from New 
Guinea, where he found it played by the Motu children of Port Moresby. Later, 
Finsch (1891, p. 33) found it as a child's game in Bentley Bay, and I have seen it 
played by children at Hula, Port Moresby, Delena, and on Kiwai Island. Thilenius 
(p. 20) hazards the suggestion that the figures made in this game may even have had 
an influence upon the decorative art and wood carving of the Papuans. I have 
more than once (1, p. 361; 2, p. 224; 3, pp. 38, 175, 201) alluded to its occurrence 
among the Papuans of Torres Straits. The general name for the game among 
the Western Islanders is Womer, and by the Eastern Islanders it is called Kamut. 
In 1888 I transferred on to cardboard a few figures that were made for me by a 
native of the Western Islands ; three of these have been published by Edge-Par- 
tington & Heape (pi. 341, 1-3), they are Gud, mouth, Umai, dog, and Ger, sea-snake 
(cf. p. 34). Several examples from this region have been published by Dr. Rivers 
and myself, a few more will be found in this book, and some additional ones will 
be published in Vol. IV of our Reports. The thirty-four figures we wrote down 
fall into Mrs. Jayne's three groups (cf. p. 4). Of the patterns, 16 were figures at 
rest and 1 1 figures in motion ; there were 6 tricks and 1 catch, and we know of the 
occurrence of many others ; altogether the figures in motion appear to be as numer- 
ous as those at rest. More than one-third represent animals. Two of the fish, 
besides being well known as fish, are the subjects of a very popular folk-tale of the 
Murray Islands. One figure which represents boys playing is subsequently con- 
verted into two rings, which represent two of the sacred grounds of Mer (Murray 
Island), in which the very important initiation ceremonies into the Malu fraternity 
were held ; and another is supposed to represent the passing of the stone-headed 
clubs from hand to hand during one of the Malu dances, as is described in Vol. 
VI of the Reports. With these exceptions there does not appear to be anything 
of a religious nature in the game as played in Torres Straits, and I think that these 



INTRODUCTION xvii 

figures have no such significance. Words are said or sentences muttered while 
most of the figures are being made, but it is difficult to make sense of some of 
these, and it is quite impossible to understand others. In Murray Island these are 
called Kamut wed, " Kamut songs." 

Nageg upi seker dike, abele lar upige seker dike. 

Nageg tail comb * it is here, that fish on the tail comb it is there. 

Le sik, le sik, sik erapei, le sikge, le sikge, uteidi 

Man bed, man bed, bed breaks, man on a bed, man on a bed, asleep lies, 

uteidi. sik erapei. 

lies asleep, bed breaks. 

Monan patibili Peibri-em enau aroem. 

Monan rolls to Peibri enau fruit t for eating. 

Tup igoli umi Waierge, Waier kesge, Waierge Water kesge. 

Tup swim round to Waier, Waier in the channel, to Waier Waier channel. 

Pageia mai nagedim upi etauerida kai amarem pekem. 
Sea-snake you to where tail strikes I to side. 

The natives of Torres Straits do not know how to play the Asiatic form of 
cat's-cradle. 

Melanesia. "It was interesting to me," writes Finsch (1888, p. 143), "that the 
taking off of a thread stretched between the fingers is also found in New Ireland; 
fairly large lads occupied themselves with it. They were able to make very beautiful 
figures and in so doing sang a not unpleasant melody." Codrington (p. 341) records 
that " cat's-cradle, in Lepers' Island Lelegaro, in Florida Honggo, with many figures, 
is common throughout the islands." He also says (p. 30) that the people of Florida 
are grouped into six exogamous divisions, or Kema. The names of two of these are 
Honggo-kama and Honggo-kiki, respectively the "Great" and the "Little Cat's- 
cradle." Buchner (p. 269) records the game from Fiji, and he makes the im- 
probable suggestion that the natives had been taught it by the missionaries. 

* This has reference to the series of small spines at the base of the tail of the Nageg fish, i. e. 
" trigger fish " or " leather jacket " (Monocanthus) ; in the folk-tale Nageg is the mother of Geigi. 
f The Wangai " plum " {Mimusops Kaukii) . 



xviii INTRODUCTION 

Polynesia. The knowledge of this pastime was certainly common to the mem- 
bers of the Polynesian stock before they separated off into different groups, as we 
find it played from the Hawaiian Islands in the north to New Zealand in the south, 
and as far east as the Hervey group. 

Culin (i, p. 222) figures sixteen examples from Hawaii and refers elsewhere 
(3, p. 106) to three more, but says, "many others are said to be known." They 
are known as Hei, "net." Elmer E. Brown (p. 163) refers to the unpublished 
investigations of Mr. J. S. Emerson into the folk-lore of the Hawaiian Islands. 
"With reference to the Hawaiian cat's-cradle," says Mr. Emerson, "I have 
collected most carefully a considerable amount of valuable information, which 
I propose to publish as soon as I can get at it. The last bit of information with 
regard to the subject I came upon almost unexpectedly this morning at South 
Cape (Ka Lae). It was the last resting-place (in stone) of the famous rat that 
saved the human family from starvation when the god Makalii hung up the food 
in a net to a cloud in the heavens. Thus, little by little, scrap by scrap, all over 
the islands, I gather the detached materials of a most strangely interesting structure 
that requires all my patience and ingenuity to dovetail together. There is no 
native now living who knows enough to give a full and connected story of this remark- 
able Hei, Koko or Makalii. Part of it comes from Iole, the home of the rat in 
Kohala. Part must be looked for in Waioli, Kanai, where the net was hung up 
to the cloud. And at last I have stumbled unawares upon the stars (Pleiades), 
the home of Makalii, his net, and the rat, all in the rock at South Cape." Mr. 
Brown goes on to say : " I think Mr. Emerson has fully established its connection 
with superstitious rites and beliefs in the Hawaiian Islands." 

Two early travellers give us the following account of the game as played in 
New Zealand. Dieffenbach (p. 32) writes: "In the game of Maui they are great 
proficients. This is a game like that called cat's-cradle in Europe, and consists of 
very complicated and perplexing puzzles with a cord tied together at the ends. It 
seems to be intimately connected with their ancient traditions, and in the different 
figures which the cord is made to assume, whilst held on both hands, the outlines 
of their different varieties of houses, canoes, or figures of men and women are im- 
agined to be represented. Maui, the Adam of New Zealand, left this amusement 
to them as an inheritance." Taylor (p. 172) says: "He whai, or maui, the 'cat's- 
cradle, ' is a game very similar to our own, but the cord is made to assume many 
more forms, and these are said to be different scenes in their mythology, such as 
Hine-nui-te-po, Mother Night bringing forth her progeny, Maru and the gods, and 



INTRODUCTION xix 

Maui fishing up the land. Men, canoes, houses, etc., are also represented. Some 
state that Maui invented this game." Tregear (i, p. 115; 2, p. 58) calls the game 
Whaij huhi or maui, and says sometimes a whole drama was played by means of 
the changing shapes. Two of the favorites were the ascent of Tawhaki, the Light- 
ning God, to heaven and the fishing up of the land by the hero Maui. There were 
proper songs chanted as accompaniments to the movements of the players' hands. 
Gill (p. 65) informs us that in the Hervey group " cat's-cradle {A i) was a great 
delight of old and young. Teeth were called into play to help the fingers. One 
complication, in which the cord in the centre is twisted into a long slender stem, 
and therefore called 'the coco-nut tree,' I have never known a European to 
unravel." 

America. Several authors have recorded the occurrence of cat's-cradle among 
the Eskimo (Hall, 1, p. 316; 2, p. 129). Klutschak (pp. 136-139) found even old 
men of King William Land playing it with reindeer sinews. They showed him 139 
named figures; of these he gives 3 illustrations, Tuktuk (Reindeer), Amau (Wolf), and 
Kakbik (Pig). Andree very truly points out that there is no pig in this region, 
but his suggestion that the natives learned the game from Europeans ("Nordmen") 
is untenable. Tenicheff (p. 153) copies the first two of the figures, but does not 
say what they are meant to represent nor where he obtained them. As previously 
mentioned, Boas (1, p. 229) has published a few figures, and elsewhere (4, pp. 151, 
161) he gives the observations of Capt. G. Comer that in Iglulik, "While the sun is 
going south in the fall, the game of cat's-cradle is played, to catch the sun in the 
meshes of the string, and to prevent his disappearance" (p. 151). Also on the west 
coast of Hudson Bay, " boys must not play cat's-cradle, because in later life their 
fingers might become entangled in the harpoon-line. They are allowed to play this 
game when they become adults. Two cases were told of hunters who lost their 
fingers, in which the cause was believed to be their having played cat's-cradle when 
young. Such youths are thought to be particularly liable to lose their fingers in 
hunting ground-seal" (p. 161). 

According to Murdoch (p. 383), "the [Point Barrow] women are very fond 
of playing cat's-cradle whenever they have leisure. One favorite figure is a very 
clever representation of a reindeer, which is made, by moving the fingers, to run 
down-hill from one hand to the other." Nelson (p. 332) was amused for an hour 
or more by an old man at Cape Darby, near Behring Strait, who "made a constant 
succession of patterns with his sinew cord, forming outlines of various birds and 
other animals of the region." 



xx INTRODUCTION 

In a criticism of Andree's statement (2, p. 214, subsequently repeated, 3, p. 
96) with regard to the distribution of cat's-cradle, that its occurrence among the 
Eskimo is quite isolated and probably due to European influence, Boas (2, p. 85) 
affirms that the game is known to all the eastern Eskimo peoples and the figures 
made by them are very numerous, although it appears each has only a limited 
range. Thus the Cumberland Sound Eskimo did not know the figures given by 
Klutschak. The game is known on the Mackenzie, and it is probably played all 
along the whole coast of arctic America. Boas also states that it is known along 
the north-west coast of America and, as among the Eskimo, is played only by one 
person at a time. The Tlingit, Tsimshian, and Kwakiutl all play it ; the most south- 
erly point at which Boas saw it played was at Comox, on Vancouver Island. He 
goes on to say : " The way in which the game is played is very interesting. While 
the figure is being made, the player sings the song belonging to it, which de- 
scribes what the figure illustrates. Many of these figures illustrate actions. The 
Eskimo have a figure which illustrates two reindeer fighting, the Tsimshians have 
dancing shamans, the Comox (Catloltq) a mink which runs along the sea-shore. 
The game is also known to the Salish tribes of upper Frazer River and Thomp- 
son River." 

Cat's-cradle has been recorded from various North-west tribes as well as 
among the Cherokee, Omaha, Pawnee, Navaho (Haddon, 5), and Pueblo Indians; 
indeed, it seems to be spread over the whole of North America. 

So far as I am aware records are lacking of its occurrence in Central America. 
It does occur in South America, for Ehrenreich (p. 30) states that the game of cat's- 
cradle representing animal figures is played by the Karaya of the Rio Araguaya 
(Goyaz), and quite recently I have heard of string games amongst the Chaco Indians 
of Paraguay, but details are not forthcoming. 

As in so many other subjects, E. B. Tylor (p. 26) was the first to draw the 
attention of students to this game and to treat it from a comparative point of 
view. He states quite correctly that it is evident the Dayaks and Polynesians 
did not learn these string games from Europeans "and," he continues, "though 
cat's-cradle is now known over all Western Europe, I find no record of it at all 
ancient in our part of the world. It is known in South-east Asia, and the most 
plausible explanation seems to be that this is its centre of origin, whence it mi- 
grated westward into Europe, and eastward and southward through Polynesia and 
into Australia." 



INTRODUCTION xxi 

I, too, can find no early mention of this game in Europe, and as our method is 
precisely similar to that of Eastern Asia I can only conclude that, like the kite, it 
was introduced directly into Europe from that part of the world. At present it 
is impossible to say more exactly where it arose, whether in Korea, China, or Indo- 
China; presumably it passed from the main-land to the Asiatic Islands. 

We should expect to find the overlap of the Asiatic and Oceanic types of the 
game in the East Indian Archipelago, and therefore we need not feel surprised that 
Mrs. Jayne has discovered the latter form (p. 43) among the Filipinos. My friend, 
Miss A. Hingston, has worked out a method by means of which the ordinary Asiatic 
opening can be converted to the Oceanic Opening A, but I do not know that it is 
actually practised. Her method is as follows: Cat's-cradle opening. With little 
fingers take up the ulnar (far) middle-finger strings below the point where they cross. 
Pass the straight string from the radial (near) side of the indices to the ulnar (far) 
side of the little fingers. Press thumbs against the indices to hold the radial (near) 
index string firm. Bring the straight ulnar (far) string that passes over the back 
of the hand over the tips of all fingers and thumbs. Transfer middle-finger loops 
to indices. Result, Oceanic Opening A. 

So far as I am aware the only figure in Europe which begins with the Oceanic 
Opening A is that known as "The Leashing of Lochiel's Dogs " (p. 116). I am 
unable to explain the significance of this anomaly. 

It is a highly significant fact that the American cat's-cradles belong to the 
Oceanic type, and that nowhere in this whole region, so far as is yet known, does the 
Asiatic type occur. This type must be extremely ancient, otherwise it would not 
occur among such widely different races as the Australians, Melanesians, Polynes- 
ians, Eskimo, and North American Indians. 

It is surprising what an enormous number of figures can be made from an 
endless loop of string, and there are very numerous varieties in every place where the 
Oceanic type of the game is played. No surprise, therefore, need be felt if similar 
figures occur in various places; at all events if they are of simple construction, a 
complex figure or one with difficult manipulation is not so likely to be often in- 
vented independently. 

So far as our knowledge goes the figure known as "The Leashing of Lochiel's 
Dogs," "Crow's Feet," etc. (p. 116), is the most widely spread of all, as versions of it 
occur in North Queensland (Roth), East Africa, North America, and the British 
Islands. Mr. W. Innes Pocock has discovered that it can be made by a dozen 
different methods. 



xxii INTRODUCTION 

The "Fish-spear," which is a simple figure, has also a wide distribution. It 
is found in Torres Straits ("Fish-spear"). H. I. Smith described it from the Salish 
of Thompson River, B. C. ("Pitching a tent"). I found it played by the Clayoquaht 
Indians, Nootka tribe, Vancouver Island, at the St. Louis Exposition ("Sea-egg 
[Echinus] spear"), and there is a Zuni, N. M., example in the Philadelphia 
Museum. 

No cat's-cradles or string tricks have hitherto been recorded from Africa. I 
have for some time been aware of the sparse occurrence of one or two string tricks 
from that continent, but very recently my friend, Dr. C. W. Cunnington, has col- 
lected fifteen patterns and three tricks from various tribes in East Africa, mainly 
in the neighborhood of Lake Tanganyika ; these will, I hope, be published by the 
Anthropological Institute of London. Three of these begin with Opening A, the 
rest have varied beginnings. In four cases the final patterns are similar, but the 
construction differs in each case. Three figures possess movement. The pattern 
known as Umuzwa, "a wooden spoon" made by the Ulungu, of the south end of 
Tanganyika, is " practically the same in result as the Cherokee figure, ' Crow's 
Feet.' " One string trick from Wajiji " is precisely the same as Kebe mokeis, ' the 
mouse,' from Murray Island, Torres Straits, a trick also known to the Omaha 
Indians." Several patterns are known to widely separated tribes, but under differ- 
ent names. Mrs. Jayne's discovery of a Batwa Pygmy pattern is of great interest, 
and it will be noticed that, like the majority of those since known from Africa, it 
has an original opening. 

It may seem a superfluous question to some to ask, Why is this game played ? 
But the Ethnologist is bound to do so, for he knows from experience that practi- 
cally everything man does has a meaning, and it is his business to endeavor to 
find out whether there is any reason for the performance of any action, and if so to 
discover its significance. 

The Asiatic type, so far as our present knowledge goes, does not appear to 
possess much interest; but two facts seem to be significant with regard to the Oceanic 
type. These are: (i) The widely spread accompaniment of words or chants, and 
(2) The frequent representation of persons, incidents, or objects connected with 
religion or mythology. These facts are interesting and suggest that we have here 
to do with some symbolism that has in course of time become obscured. On the 
other hand, it may merely be a pastime, and the figures and designs may be nothing 
more than casual illustrations of mythology, as they are of innumerable natural 
objects. 



INTRODUCTION xxiii 

The Eskimo evidence proves that cat's-cradle may, in part, have a magical 
significance and suggests a line for future inquiry, for we know that all over the 
world strings, cords, and knots enter largely into magical practices. The informa- 
tion at present available is too scanty for us to discuss these questions with profit. 

Alfred C. H addon. 

Cambridge, England, July, 1905. 



STRING FIGURES 



CHAPTER I 

DISTRIBUTION OF STRING FIGURES — NATIVE NAMES — METHODS FIRST RECORDED — ETHNOLOGICAL VALUE 
OF STRING GAMES — RELATIONS BETWEEN FINISHED PATTERNS MADE BY DIFFERENT RACES — RELA- 
TIONS BETWEEN NATIVE METHODS — HOW STRING FIGURES ARE MADE — DIFFERENT OPENINGS — 
NOMENCLATURE ADOPTED — TYPICAL MOVEMENTS DESCRIBED — EXPLANATION OF THE DESCRIPTIONS 
AND THE DRAWINGS. 

IN our childhood we have all doubtless enjoyed the fascination of the game of 
Cat's-Cradle, and experienced a sense of being hopelessly baffled, when, after 
completing the series of familiar movements, we were at the end of our knowl- 
edge, and all our attempts to go on further ended in a complete tangle of the string. 
We did not know that the game, as we then played it, is one of a host of similar 
games played with a loop of string by savage or primitive people all over the world, 
and that, while our childish game is also known in many and widely separated 
lands, it is possibly only a survival of others now lost, and crude enough com- 
pared with the intricate and beautiful patterns devised by savage races. 

For many years travellers have been calling attention to the fact that a game 
resembling our Cat's-Cradle is played in various parts of the world; hence we now 
have some idea of its geographical distribution. 

We know that certain simple patterns are common in Great Britain, Europe, 
and the United States (in addition to the Indian games), and have been reported 
from India, Japan and Korea (Culin, 2, p. 30 and Weir) and China (Culin, 2, p. 
30; Fielde, p. 87). Ehrenreich (p. 30) tells us that string games are played in South 
America, and I have found a few figures among the Batwa pygmies from Africa. 
Reports of their occurrence come chiefly, however, from explorers of the various 
islands of the Pacific Ocean, and from observers of the North American Indians. 
Thus we learn of string figures in Java from Schmeltz (p. 230) ; in Borneo from 
Wallace (p. 183), Haddon, and Furness; in Celebes from Matthes (p. 129); in the 
Philippines from my own studies at the St. Louis Exposition; in Australia from 
Bunce (p. 75), Smyth (Vol. I, p. 178), Eyre (II, p. 227), and Roth (p. 10); in New 
Guinea from Finsch (1 891, p. 33), Rivers and Haddon (p. 151), and Turner (p. 483) ; 
in Torres Straits from Rivers and Haddon (p. 146); in New Ireland from Finsch 
(1888, p. 143); in the Solomon Islands and the New Hebrides from Codrington 



2 STRING FIGURES 

(p. 341); in the Loyalty Islands from Rivers and Haddon (p. 148); in the Fijis 
from Buchner (p. 269) ; in New Zealand from Dieffenbach (Vol. II, p. 32), Taylor 
(p. 172), and Tregear (1, p. 115; 2, p. 58); in the Hervey group from Gill (p. 65); 
in the Hawaiian Islands from Culin (1, p. 223) and Brown (p. 163); in the Caroline 
Islands from Furness; and in the Marshall Islands from Stephen. In America we 
learn of their prevalence among the Eskimos from Boas (1, p. 229; 2, p. 85; 3, p. 
569; 4, pp. 151, 161), Hall (1, p. 316; 2, p. 129), Klutschak (p. 138), Murdoch 
(p. 383), Nelson (p. 332), and Tenicheff (p. 153) ; among the Salish from Smith (p. 
281); the Tlingits, Tsimshians, and Kwakiutls, from Boas (2, p. 85); the Clayo- 
quahts from Haddon; the Tewas and Zunis from Culin; the Pawnees, Omahas, 
and Cherokees from Haddon (5, p. 217); and among the Navahos from Haddon 
(5, p. 219) and Culin. Mr. John L. Cox has gathered games for me from the Kla- 
maths, Tewas, Omahas, and Onondagas, and I collected string figures from the 
Navahos, Osages, Chippewas and Apaches at the St. Louis Exposition. 

Of the name " cat's-cradle," which is confined, of course, to the English game, no 
satisfactory derivation has ever been given (see Murray, N.E.D.). Comparatively 
few of the native names have been recorded. The Eskimos of Cumberland Sound 
call it ajararpoq ; the Navahos, na-ash-klo, "continuous weaving"; the Japanese, 
aya-ito-tori, "woof-pattern string-taking"; the Caroline Islanders, gagai (the word 
also employed for the pointed stick used to open coco-nuts) ; the Hawaiians, hei, or 
"net"; the New Zealanders, he-whai, huhi, or maui; the natives of Lepers' Island 
in the New Hebrides, lelagaro, and of Florida in the Solomon Islands, honggo. In 
the eastern islands of Torres Straits it is known as kamut, in the western islands as 
wormer. The Bugis and Makassars of the Celebes call it toekd-toekd, from toekd, 
"a ladder." In some places in Australia it is named cudgi-cudgick. In North 
Queensland the various tribes of blacks have different names for it. The Koko- 
yimidir of Cape Bedford call it kdpan (used also for "words, letters, writing," etc.); 
the Ngaikungo and Ngatchan of Atherton, etc., morkuru; the Nggerkudi of the 
Pennefather and Batavia rivers, ane-inga; the Kungganji of Cape Grafton, man- 
jing; the Koko-lama-lama of the Hinterland and coast of Princess Charlotte Bay, 
yirma; the Koko-rarmul of the same, mianman; the Koko-wara of the same, andai- 
ibi; the Mallanpara of the lower Tully River, kumai or kamai. 

Although the existence of the game has been known for years, no one had 
described how the figures are made until Dr. Boas, in 1888, recorded the methods 
employed in two Eskimo games. In 1900 Mr. Harlan I. Smith figured certain 
stages of two games played by the Salish Indians of British Columbia. To Dr. 
W. H. R. Rivers and Dr. Alfred C. Haddon, however, must be attributed the real 
impetus given to the study of string games: their paper, published in 1902, gives 
us the first plan whereby all these intricate and difficult figures may be described 
so that anyone can repeat them; their simple and accurate nomenclature now 
makes it possible to record all future discoveries. A second paper, in 1903, by D*-. 
Haddon (5) on the string games of the American Indians, and a paper, in 1903, 



ETHNOLOGICAL VALUE 3 

by the Rev. John Gray on several Scotch cat's-cradles, include, probably, all the 
descriptive records on the subject. 

My brother, Dr. William Henry Furness, 3rd, in his recent trip among the 
Caroline Islands, by following Drs. Rivers and Haddon's directions and nomen- 
clature, was able to record fifteen new and extremely interesting string figures ; and 
at Dr. Haddon's suggestion I visited the St. Louis Exposition several times in 1904, 
and was fortunate enough to secure thirty-one additional games from natives of the 
various races and tribes there congregated. Of the ninety-seven figures set forth 
on the following pages seventy-one are now described for the first time. To this 
list have been added drawings of a number of finished patterns obtained by other 
observers who did not record, however, the methods by which they were made. 

Just what value the study of the string games of different races will have to 
the ethnologist, it is difficult to say at this time. That evidences of racial or tribal 
relationship, or of migration, may be found in them, is not unlikely; that they 
bring us in closer touch with the folk-lore of savage people is already clear. While 
games in general of native races, and their connection with folk-lore, have by no 
means been neglected, string figures have appeared so difficult and require rela- 
tively so much time and such intimate relations for their collection, that, as yet, 
few careful observations have been made. Gradually, however, we are learning 
more about them; we know that marry are closely connected with racial history 
and mythology, with traditional tales and fortune-telling; some are accompanied 
by muttered chants or songs; in others a consecutive story follows from move- 
ment to movement, or perhaps a touch or a word is associated with a certain turn 
or twist of the string. 

Concerning the relations, which the finished patterns produced in the string 
games of different countries, bear to one another, we know that a few simple figures 
are practically universal, that several others are formed by widely separated races, 
but that the great majority are peculiar to definite localities. We cannot suppose 
that the natives set to work deliberately to form figures of familiar objects, but 
rather that of the many patterns — formed by chance, in sheer idleness or from an 
inventive turn, whether under tropical suns or in ice huts during long arctic 
winters — only those were kept up and named which bore resemblances, however 
slight, to something connected with their daily life or prominent in their thought. 
How far tradition has preserved the figures unchanged, or time and constant repeti- 
tion have altered their original form, of course it is impossible to tell. In the fin- 
ished patterns we find, among all races, representations of men and women, parts of 
the body, articles of dress, of commerce, and of warfare ; and of stars, and natural 
phenomena — such as storms, darkness, and lightning. Animals and plants are fre- 
quently reproduced, the names of course being conditioned by the fauna and flora 
of the locality, as, for example, the coral of the Pacific Islands, the cariboo of the 
Eskimos, and the owl, snake, and coyote of the American Indians. 

The methods employed by different races in making the figures and a com- 



STRING FIGURES 



parison of these methods, are more interesting, and of more importance, than the 
study of the relations between the finished patterns. At present we can venture to 
express only the belief that, while many of the methods must be the same the world 
over, some of them will exhibit, in every region sufficiently isolated, marked pecu- 
liarities which, if enough figures are available, will enable us with certainty to 
recognize their locality. Thus the methods of Caroline Islands figures cannot be 
mistaken for those of the Navaho Indians, or the New Guinea methods for those 
of the other two. 

These string games may be roughly classified into those figures whereof the 
purpose is to form final patterns, supposed to represent definite objects; those which 
are tricks, wherein, after much complex manipulation of the strings, the entire loop 
is suddenly drawn from the hand by some simple movement ; and those which are 
catches, wherein, when certain strings are pulled, the hand or some of the fingers may 
be unexpectedly caught in a running noose. Of course, there is no hard and fast 

rule of classification; several very 
pretty patterns may be converted 
into catches. 

String figures are made with a 
piece of string about six feet long, 
the ends of which must be tied to- 
gether to form a single loop about 
three feet long. In some races a 
thong of skin is used ; in the islands 
of the Pacific a cord made of cocoa- 
nut fibre, or of human hair finely 
plaited, serves as a string. A woven 
cord which does not kink as easily as a twisted cord will prove most satisfactory; 
unfortunately it cannot be spliced, the ends therefore must be knotted in a small 
square knot or laid together and bound round with thread. 

All string games begin with an opening, the object of which is to get the orig- 
inal- loop so arranged on the hands that a number of secondary loops shall cross 
from the fingers of one hand to the fingers of the other, when the hands are held in 
what is called their usual position, namely, with the palms facing each other, and 
the fingers directed upward (Fig. i). 

The ninety-seven figures described on the following pages show many different 
openings, but fifty-seven of them begin with the same opening. 

In arranging the figures, those with a common opening, and otherwise closely 
related, are gathered in one series, instead of being distributed into race groups; 
and in each series, as far as possible, simple figures are placed first. 

Every finger loop has, of course, two strings, and as a rule both these strings 
pass between the hands to form the strings of finger loops on the opposite hand; but 
sometimes one or both strings of a finger loop, before crossing to the other hand, 




NOMENCLATURE 5 

pass across the palm of the hand or around other fingers and is a string, or strings, 
common to two finger loops of the same hand (Fig. 2). When you have arranged 
loops on the fingers, and the hands are held in the usual position, the loops are 




named from the fingers on which they are placed; thus, right index loop, left little 
finger loop, and so on; whenever a loop or string is changed to another finger, of 
course its name is changed to that of the new finger on which it is placed. 

The strings of the finger loops which leave the finger from the side nearest you are 
called near strings, and the strings which leave the finger from the side of the finger 
furthest away from you are called jar strings; hence we have a right near middle finger 
string or a left far thumb string, etc. A finger may have two loops on it, in which case 
they are called upper and lower loops; and we have upper and lower near strings and 
upper and lower far strings. A string crossing the palm is a palmar string (Fig. 2). 




The movements whicn are necessary to form a final pattern are many, and in 
some cases most complex. They consist of a series of manipulations of the loops 
and strings which have been put on the fingers by the opening movement. Loops 
and strings are drawn over other loops and strings (Fig. 3), or under them; or are 



6 STRING FIGURES 

dropped and new ones formed by drawing out a straight string on one hand by a 
finger of the other hand (Fig. 4); loops are threaded through other loops (Fig. 5), 
or twisted, or the loop on the finger of one hand is exchanged for a loop from a 




finger of the other hand (Fig. 6); and strings crossing between the hands, or 
in the centre of the growing pattern, are picked up by the fingers of one or of 
both hands (Fig. 7). 

It should be remembered that the object is to form the pattern on the hands, 
and, as far as possible, that the loops on the fingers of one hand shall be ar- 
ranged by the fingers of that hand; the hands working together simultaneously. 
Of course, at times it is necessary for the fingers of one hand (usually the index 
and thumb) to arrange loops on the other hand (Fig. 8). A loop or a string on 
the hand is arranged by a finger of the same hand as follows : pass each index 




THE DESCRIPTIONS 7 

toward you, over the upper far thumb string, and pick up from below on the 
back of the index the lower far thumb string, and draw it up and away from you 
by returning the index to its usual position (Fig. 9). When you pass a finger down 
and under a string to pick it up, as in this example, you must naturally pick 




Fig. 6. 





Fig. 8. 




Fig. 9. 



8 



STRING FIGURES 



it up on the back of the finger; but if you pass a finger over a string to pick it up, 
you must pick it up on the ball of the finger, or in the bend of its first joint (Fig. 5). 
In some figures the hands alone are not sufficient to carry out the necessary 
steps, and certain strings or loops must be held by the teeth (Fig. 10), or on the 
finger of a second person. Almost all of the string figures here recorded are solitary 
games, only a few need two persons and only one two persons and two loops of 
string* 

I have divided the description of each figure into a number of movements, every 
one of which represents a step toward the completed pattern ; in this way it is easy 

to remember the order of the steps, 
and it enables reference to be made to 
one or more steps in a figure without 
the necessity of further description, for 
some figures are mere variations of 
others, and a few are made by com- 
bining movements of several figures 
with one or two new ones. The de- 
scriptions have been prepared with the 
utmost care, and have been tested on 
people who knew nothing of the game. 
There is, therefore, a reason for every 
direction which is given; some may 
seem superfluous, but these mark the 
points where experience has shown 
that a pupil is liable to make a mis- 
take. None of the figures is very 
difficult, the really difficult ones are yet to be recorded, as we can see by examin- 
ing the finished patterns from the Marshall Islands given at the end of the book. 

No trouble has been found in teaching string games to children of the kinder- 
garten age, and the games can be made as interesting to all children as to adults, 




Fig. 10. 



* Drs. Rivers and Haddon's nomenclature is as follows: 

"A string passed over a digit is termed a loop. A loop consists of two strings. Anatomically, 
anything on the thumb aspect of the hand is termed 'radial' and anything on the little-finger side 
is called ' ulnar" ; thus every loop is composed of a radial string and an ulnar string. By employing the 
terms thumb, index, middle-finger, ring-finger, little finger, and right and left, it is possible to designate 
any one of the twenty strings that may extend between the two hands. A string lying across the front 
of the hand is a palmar string, and one lying across the back of the hand a dorsal string. Sometimes 
there are two loops on a digit, one of which is nearer the finger tip than the other. Anatomically, that 
which is nearer to the point of attachment is 'proximal,' that which is nearer the free end is 'distal.' 
Thus, of two loops on a digit, the one which is nearer the hand is the proximal loop, that which is 
nearer the tip of the digit is the distal loop; similarly, we can speak of a proximal string and a distal 
string. * * * A digit may be inserted into a loop from the proximal or distal side, and in passing to a 
given loop the digit may pass to the distal or proximal side of other loops." 



THE DRAWINGS 9 

and at the same time aid materially in cultivating manual dexterity and a mce co- 
ordination of brain and hand. 

Moreover, two persons can play string games together, the right hand of one 
and the left hand of the other forming one figure while the other hands are forming 
an entirely different figure ; in the same way many persons can play together. 

It should be remembered that the following descriptions follow exactly the 
methods used by the natives; doubtless other ways of forming the same figures 
exist, or can be devised, but I have not deemed it right, on the ethnological grounds 
given above, to change the methods shown to me at first hand or recorded by 
others. 

The invention of new figures is a fascinating diversion, and is of value because 
thereby a student becomes more expert and therefore better trained to observe 
and record native games. One pretty figure I invented, as I flattered myself, 
only to find out later that it is common among the natives of the Caroline Islands. 
A few of these invented games have been added at the end of the book merely as 
examples of what may be done. 

In the illustrations which accompany the descriptions we have the first serious 
attempt to show the successive steps in string games by pictures of the fingers 
picking up and arranging the strings and of the result produced by each move- 
ment. Heretofore, as a rule, only finished patterns have been drawn, or stretched 
out on cards for exhibition in a museum. Moreover, the illustrations represent 
the various steps as they are seen by the person making the figure. We have 
observed great care to have the strings and the loops, and their manner of crossing 
one another, accurately drawn. In a few figures only, where the strings run into 
small twists or knots in the centre between the hands, it has not been possible to 
trace individual strings throughout their entire course, but wherever this has been 
possible, even in the most complex figures, I think the artist has been unusually 
successful and has rendered faithfully the effects of strain and of deflection pro- 
duced by crosses, knots, and twists. In illustrating a step which requires that each 
hand shall perform, independently, the same movement at the same time, in order 
to reduce the number of drawings without sacrificing any important stages in the 
process, one drawing, as a rule, serves to show two stages : one hand, usually the 
left, being represented as beginning the movement, the other hand as completing 
it (see Fig. 9). 



CHAPTER II 



MOVEMENTS KNOWN AS FIRST POSITION AND OPENING A — FIGURES BEGINNING WITH OPENING A — AN 
APACHE DOOR — FIGHTING HEAD-HUNTERS — A SUNSET — OSAGE DIAMONDS — OSAGE TWO DIAMONDS 
— DRESSING A SKIN — A FISH-SPEAR — A SEA-SNAKE — A KING FISH — BAGOBO DIAMONDS — BAGOBO 
TWO DIAMONDS 



FIRST POSITION 



THE following movements put the loop on the hands in what for conven- 
ience may be called the First Position.. Very many string games begin 
in this way; and the movements should be learned now, as we shall 
not repeat the description with every figure. 

First : Put the little fingers into the loop of string, and separate the hands. 

You now have a single loop on each little finger passing directly and uncrossed 
to the opposite little finger. 

Second : Turning the hands with the palms away from you, put each thumb 
into the little finger loop from below, and pick up on the back of the thumb the 
near little finger string; then, allowing the far little finger string to remain on the 




Fig. 11. 




little finger, turn the hands with the palms facing each other, return the thumbs to 
their extended position, and draw the strings tight (Fig. n). 

In the First Position, therefore, there is, on each hand, a string which crosses 
the palm, and passing behind the thumb runs to the other hand to form the near 
thumb string of the figure, and passing behind the little finger runs to the other 
hand to form the far little finger string. 



OPENING A 



ii 



It is not essential that the loop shall be put on the hands by the movements 
just described; any method will answer, so long as the proper position of the string 
is secured. This method, however, has been found to be as easy as any other. 
The First Position is, of course, absurdly simple, yet it not infrequently puzzles 
the beginner, largely because it is the reverse of the first steps in the ordinary 
English Cat's-Cradle known to every child. 



OPENING A 

More than half of the string figures described in this book open in the same way ; 
to avoid constant repetition therefore, we may follow Drs. Rivers and Haddon (p. 





Fig. 12. 



Fig. 13. 



148), and call this very general method of beginning Opening A. It should 
be learned now, because in the descriptions of the figures in which it occurs, 
the first movement will be simply noted as Opening A. It is formed by three, 
movements. 

First : Put the loop on the hands in the First Position. 

Second : Bring the hands together, and put the right index up under the string 
which crosses the left palm (Fig. 12), and draw the loop out on the back of the 
finger by separating the hands. 

Third : Bring the hands together again, and put the left index up under that 
part of the string crossing the palm of the right hand which is between the strings 
on the right index (Fig. 13), and draw the loop out on the back of the left index 
by separating the hands. 



12 STRING FIGURES 

You now have a loop on each thumb, index, and little finger (Fig. 14), There 
is a near thumb string and a far little finger string passing directly from one hand to 
the other, and two crosses formed between them by the near little finger string of 
one hand becoming the far index string of the other hand, and the far thumb string 
of one hand becoming the near index string of the other hand. 

In forming many of the figures beginning with Opening A it is absolutely 
necessary to follow the order just given, and take up, first, the left palmar string 
with the right index, and then the right palmar string with the left index; it will save 
trouble, therefore, if this order be always followed, even if it make no difference in 




the result. If the reverse of this order is ever required, of course it will be noted 
in the description. 

AN APACHE DOOR 

This figure was taught to me by an Apache girl, Lena Smith, from Jicarilla, 
New Mexico, at the St. Louis Exposition in September, 1904. Lena spoke very 
little English and touched a door to signify the name of the figure. I could not 
get from her the Apache name. She was much amused at my blunders. A Navaho 
girl told me that all Indians know this figure. In the Philadelphia Free Museum 
of Science and Art, there are four examples of the finished figure collected by 
Mr. Stewart Culin and preserved on cards: (1) Li-sis = a Poncho, 22722, Navaho, 
from St. Michael's Mission, Arizona; (2) Pi-cho-wai-nai, 22604, Zuni, New Mexico; 
(3) Pi-cho-wai, a-tslo-no-no-nai = a Sling, 22610, Zuni, New Mexico, and (4), 22729, 
from Isleta, New Mexico. 

First: Opening A. 

Second: With the right thumb and index pick up the left near index string 
close to the left index, and lift the loop entirely off the left index; then put the loop 
over the left hand and let it drop down on the left wrist. With the left thumb and 
index pick up the right near index string close to the right index, and lift the loop 
entirely off the right index; then put the loop over the right hand and let it drop down 




LENA SMITH, A JICARILLA APACHE. 
(Courtesy of Mr. S. C. Simms.) 



AN APACHE DOOR 13 

on the right wrist. Separate the hands and draw the strings tight. You now 
have a' loop on each thumb, a loop on each little finger, and a loop on each wrist 

(Fig. 15). 

Third: With the right thumb and index pick up the left near little finger string 
(not the whole loop) close to the left little finger, and, drawing it toward you, 




pass it between the left index and thumb, and release it. With the right thumb 
and index pick up the left far thumb string close to the left thumb, and, drawing 
it away from you, pass it between the left ring and little fingers, and release it. 

With the left thumb and index pick up the right near little finger string close 
to the right little finger, and, drawing it toward you, pass it between the right index 
and thumb, and release it. With the left thumb and index pick up the right far 




Fig. 16. 



thumb string close to the right thumb, and, drawing it away from you, pass it 
between the right ring and little fingers, and release it. 

You now have a loop on each wrist, and two strings crossing each palm in 
the First Position (Fig. 16). 



14 



STRING FIGURES 




Fig. 17. 



Fourth : Keeping all the loops in position on both hands, with the left hand 

grasp tightly all the strings where they cross in the centre of the figure, and pass 

this collection of strings from left to right between 
the right thumb and index, that is, from the 
palmar side to the back of the hand, and let them 
lie on the back of the hand midway between the 
thumb and index finger (Fig. 17). Then with the 
left thumb and index take hold of the two loops 
already on the right thumb, and, without pulling 
them out, draw them over the tip of the right thumb 
(Fig. 18). Now, still holding the loops, let the col- 
lection of strings lying low down between the right 
index and thumb, slip over the right thumb to the 
palmar side. The right thumb is now entirely free. 
Without untwisting the two original right thumb 
loops, which you are still holding with the left 
thumb and index, replace these loops on the right 
thumb exactly as they were before the collected 
strings were placed between the right index and 
thumb (Fig. 19). Separate the hands, and draw the 

strings tight. Now repeat exactly the same movement on the left hand as follows; 
Keeping all the loops in position on both hands, with the right hand grasp 

tightly all the strings where they cross in the centre of the figure, and pass this 

collection of strings from right to left between the left index and thumb, that is, 

from the palmar side to the back of 

the hand, and let them lie on the 

back of the hand midway between 

the index and thumb; then with the 

right thumb and index take hold of 

the two loops already on the left 

thumb and, without pulling them 

out, draw them over the tip of the 

left thumb. Now, still holding these 

loops, let the collection of strings 

lying low down between the left in- 
dex and thumb, slip over the left j 

thumb to the palmar side. The Fig. 18. 

left thumb is now entirely free. 




Without untwisting the two original left thumb loops, which you are still holding 
with the right thumb and index, replace these loops on the left thumb exactly as 
they were before the collected strings were placed between the left index and thumb. 
Separate the hands, and draw the strings tight. 



AN APACHE DOOR 



15 




You now have a loop on each wrist, two twisted loops on each thumb, and two 

twisted loops on each little finger (Fig. 20). 

Fifth : With the right thumb and index lift the left wrist loop from the back of 

the left wrist up over the tips of 

all the left fingers, and let it fall 

on the palmar side. With the 

left thumb and index lift the 

right wrist loop from the back 

of the right wrist up over the 

tips of all the right fingers, and 

let it fall on the palmar side. 
Sixth : Retaining the loops 

on the thumbs and little fingers, 

rub the palms of the hands togeth- 
er; then separate the hands, and Fig. 19. 

draw the figure tight (Fig. 21). 

This is a beautiful figure, and not at all difficult. Moreover it retains its shape 

no matter how tight you may pull it. It contains several interesting movements: 

In the Second, the method of transfer- 
ring the index loops to the wrists is 
unusual; as we shall see further on, a 
more complicated method is almost al- 
ways employed. In the Third move- 
ment the changing of a string from one 
finger to another by means of the 
thumb and index of the other hand is 
a process not often observed. Indeed 
one may easily believe that the meth- 
ods given in these two movements are 
short cuts peculiar to the individual 
who taught me the figure, and that, 

some day, other Indians will be seen doing these movements in the usual elab- 
orate style, whereby the 

strings on either hand 

are shifted and arranged 

by the fingers of that 

hand only. As far as I 

know, the Fourth move- 
ment has not been ob- 
served in any other string 

figure. The rubbing of 

the hands together in the 





*^a 



16 



STRING FIGURES 



Sixth movement is, of course, only for effect ; it has no bearing on the success of the 
figure. The manner of showing the finished pattern, what we call its "extension," 
is of the most simple type; indeed the figure practically extends itself when the 
hands are drawn apart. 



** 



FIGHTING HEAD-HUNTERS 




This figure was taught to me by Dr. Haddon in August, 1904. He obtained 
it when on the Cambridge Anthropological Expedition to Torres Straits; it is de- 
scribed by Rivers and Haddon (p. 150). In Mer (Murray Island), Torres Straits, it 
is called Ares = Murray and Dauar men fighting. One twisted loop of the finished 
figure represents the Murray man, who always carries off the Dauar man's head. 

First : Opening A. 

Second : Bend each little finger toward you over all the strings except the near 
thumb string, and then down into the thumb loop, and pick up on the back of the 




Fig. 22. 



little finger the near thumb string (Fig. 22), and return the little finger to its original 
position, taking the thumb loop entirely off the thumb. You now have a single loop 
on each index and two loops on each little finger (Fig. 23). 

Third: Pass each thumb away from you under the index loop, and take 
up from below on the back of the thumb the two near little finger strings, and 
return the thumb to its position (Fig. 24). Release the loops from the little 
fingers. 

Fourth : Bend each little finger toward you over the index loop, and take up 
from below on the back of the finger the two far thumb strings (Fig. 25, Left hand), 




PASI, A MAMOOSE, OR CHIEF, OF DAUAR, TORRES STRAITS. 

See Haddon's Head Hunters: Black, White and Brown. 

(Courtesy of Dr. A. C. Haddon.) 



FIGHTING HEAD-HUNTERS 



17 




Fig. 23. 





Fig. 25 



i8 



STRING FIGURES 




and return the 
Right hand). 

Fifth: In 
double strings 

Insert the 



hand, with the 
two upper left 



little finger to its position, retaining the loops on the thumb (Fig. 25, 

the centre of the figure there is now a distinct triangle formed of 

(Fig. 26). 

tip of each index from below into this triangle, and, pulling out 

the sides of the triangle on the 
backs of the index fingers (Fig. 
27), separate the hands. You 
should now have two loops on 
each thumb, two loops on each 
little finger, and three loops on 
each index, one at the base of 
the finger and two together 
near the tip (Fig. 28). 

Sixth : Keeping all the 
strings securely on the right 
right thumb and index lift the lower left single index loop over the 

index loops (Fig. 29), and over the tip of the left index, and let it 





Fig. 28. 



FIGHTING HEAD-HUNTERS 



19 



fall on the palmar side. In doing this movement be careful not to let the loops 
slip off the right fingers. In like manner with the left thumb and index remove the 
lower right index loop from the right index. Release the loops from the thumbs. 
The two loops which are now on each 
index and little finger are bound together 
not far from the palm (Fig. 30). 

Seventh : Twist tightly the two loops 
on each index finger about three times, 
by rotating the index away from you (or 
by dropping the loops from the index 
and twisting them with the thumb and 
index). 

Eighth : The loops should now be 
dropped from the index (if this has not 

been already done to twist them with the thumb and index) and the figure turned 
so that these twisted index loops shall hang down. With the left little finger pull 




Fig. 29. 




Fig. 30. 



gently on the left near little finger strings, which will cause the right twisted hanging 
loops (one head-hunter) to move toward the other hanging loops (the other head- 
hunter) (Fig. 31); then they meet, and by jerking the left hand strings slightly 




Fig. 31. 



20 



STRING FIGURES 



"they fight and they fight and they fight." The result of the contest is always 
uncertain; either "they kill each other" and fall apart, or "one may kill the other 
and travel home," toward the right hand, "with his enemy's head" (Fig. 32). 

If, in forming Opening A, the right palmar string be taken up first, and if, 
when the figure is completed, the right near strings be pulled upon, then the victo- 
rious head-hunter will travel home toward the left hand.- 

There are not many figures like this one which have definite stories attached to 
them. Doubtless the stories exist, but have not been told and recorded; in some 
instances the stories have been forgotten by the natives themselves, or have de- 
generated into formula? the meanings of which are no longer known. 

The Fighting Head-Hunters is a good example of that simple type of figure in 
which most of the movements consist in passing the fingers away from you and 





Fig. 32. 



toward you, and taking up strings and loops from other fingers of the same hand. 
The picking up of the strings forming the sides of the central triangle is not a common 
movement. In the Second movement a loop is transferred from one finger to another 
and turned over during the transfer. In the Sixth movement we have the first 
example of an almost universal procedure : When two loops are on a finger the lower 
loop is lifted over the upper loop and off the finger to form, toward the centre 
of the figure, a running noose or ring upon the upper loop. If there be three loops 
on a finger the lower one may be lifted over the upper two, or the lower two over 
the upper one, but in all cases the principle is the same, namely, to thread the upper 
loop, which originally belonged to another finger, through the lower loop, which is 
usually the original loop of the finger. As we shall see further on, this movement 
is executed in different ways: with the teeth, with the thumb and index of the other 
hand, by the aid of another finger of the same hand, or merely by twisting the 
finger itself. It is so general in the Navaho Indian figures that, following Dr. 
Haddon, in conversation we often speak of it as the "Navaho movement," or, 
coining a new verb, direct that the loops on a finger shall be " Navahoed." 



A SUNSET 
A SUNSET 



21 



The "Sunset" is closely related to the preceding "Fighting Head-Hunters." 
It was obtained by Dr. Haddon in Torres Straits (see Rivers and Haddon, p. 1 50, 




Fig. 33 



Fig. 4). In Murray Island it is known as Lem baraigida — a. Setting Sun; in 
Mabuiag as Ddgai = a Star. 

First, Second, Third, Fourth: Similar to the first four movements of the 
Fighting Head-Hunters. 

Fifth : Exchange the loops on the index fingers by bringing the hands together 
and putting the right index loop on the left index and then putting the left index 
loop on the right index; in this way the right index loop is passed through the left 




Fig. 34. 



index loop. You now have a single loop on each index, two loops on each thumb, 
and two loops on each little finger (Fig. 33). 

Sixth : Bend each middle finger down, and put it from above through the index 
loop; pick up from below on the back of the finger the two far thumb strings (Fig. 34), 



22 



STRING FIGURES 



and return the middle finger back through the index loop to its original position 

(Fig- 35)- 

Release the loops from the thumbs and index fingers, and transfer the two 




loops on each middle finger to the thumb, by putting the thumb from below into the 
loops and withdrawing the middle finger. 

Seventh : In the centre of the figure is a small triangle the base of which is on 
the far side and is formed by the two strings passing from one little finger to the 
other; each side of the triangle is formed of the two near thumb strings after they 
have crossed the corresponding strings from the other thumb (Fig. 36). Pick 




Fig. 36 



up from below on the back of each index the strings forming the corresponding 
side of the triangle (Fig. 37), and return the index to its position. 

You now have two loops on each thumb, two loops on each index, and two loops 
on each little finger. 

Eighth : Put each middle finger from above through the two index loops, and 
(as in the Sixth movement) pick up from below on the back of the middle finger 
the two far thumb strings (Fig. 38), and return the middle finger, through the two 
index loops (Fig. 39), to its former position. 

Ninth: Release the loops from the thumbs and index fingers, and, keeping 



A SUNSET 



23 



the loops on the little fingers, extend the figure by putting each index finger into the 
middle finger loop to make it wider (Fig. 40). 

The far little finger strings drawn straight represent the horizon, the central 
semicircle is the sun, and the three other double strings on each side are the sun's 
rays. These latter may be made more apparent by transferring, on each hand, 




Fig. 37. 




Fig. 38 



Fig. 39. 




Fig. 40, 



24 



STRING FIGURES 



one of the middle finger loops to the index. The sun is made to set by releasing 
the loops held by the index and middle fingers, and drawing the hands apart. 

In this figure we have as a new movement the exchange of loops between 
opposite fingers. We also see the method of transferring a loop from one finger to 
another finger of the same hand, without turning the loop over in the transfer. 
The loop of course could be simply lifted from finger to finger by the fingers of the 
other hand, but that apparently is rarely, if ever, done; it would require two separate 
movements, whereas by the method given in the Sixth movement of this figure, the 
two hands move synchronously. All the way through these string figures we con- 
stantly meet with the fundamental principle that the two hands shall execute the 
same movements at the same time; in some cases to accomplish this result the 
movements appear involved and indirect. You will also notice that the Eighth 
movement is a repetition of the Sixth movement; this occurs not infrequently in 
other figures and the repetition may cover not only one but several movements. 

OSAGE DIAMONDS 



This figure was shown me by an Osage Indian, Charles Michelle from Paw- 
huska, Oklahoma, at the St. Louis Exposition, in September, 1904. He had no 

name for it. In the Philadelphia 
Free Museum of Science and Art 
there are two finished patterns col- 
lected by Mr. Stewart Culin; both 
are from the Hawaiian Islands. No. 
21447 is called Ma-ka-lii-lii, and 
No. 21514, Pu-kau-la (see Culin, 1, 
p. 222). It is known among In- 
dians, sometimes as " Jacob's Lad- 
der," and also to the Irish, under 
the names of the "Ladder" or the 
Fig. 41. "Fence." 

First: Opening A. 
Second: Release the loops from the thumbs, and separate the hands (Fig. 41). 
Third : Pass each thumb away from you under all the strings, and take up 
from below with the back of the thumb the far little finger string, and return the 
thumb to its former position without touching the other strings (Fig. 42). 

Fourth: Pass each thumb away from you over the near index string, and 
take up, from below, with the back of the thumb the far index string and return 
the thumb to its former position (Fig. 43). 

Fifth : Release the loops from the little fingers and separate the hands. 
Sixth : Pass each little finger toward you over the near index string and take 





CHARLES MICHELLE, AN OSAGE INDIAN OF PAWHUSKA, OKLAHOMA. 
(Courtesy of Mr. S. C. Simms.) 



OSAGE DIAMONDS 



25 



up from below on the back of the little finger the far thumb string (Fig. 44, Left 
hand), and return the little finger to its former position (Fig. 44, Right hand). 




Fig. 42 




Fig. 43. 




Fig. 44 



26 



STRING FIGURES 




Fig. 45. 



Seventh: Release the loops from the thumbs (Fig. 45). 
Eighth : Pass each thumb away from you over the index loop, and take up, 
from below, with the back of the thumb the near little finger string and return 

the thumb to its posi- 
tion (Fig. 46). 

Ninth: With the 
right thumb and index 
pick up the left near 
index string (close to 
the left index and above 
the left palmar string) 
and put it over the left 
thumb (Fig. 47). With 
the left thumb and in- 
dex pick up the right 
near index string (close 
to the right index and above the right palmar string) and put it over the right 
thumb. Separate the hands (Fig. 48). 

Tenth : Bending each thumb toward the other hand and then up toward you, 
slip the lower near thumb string off the thumb, without disturbing the upper thumb 
loop (Fig. 49, Left hand). 

Eleventh : Insert each index from above into the small triangle formed by the 
palmar string twisting around the thumb loop (Fig. 49, Right hand), and, turning 
the palms down, release the loop 
from the little fingers; then sep- 
arate the hands, turn the palms 
away from you, and the finished 
figure will appear (Fig. 50). 

This figure is extremely sim- 
ple; the majority of the move- 
ments are most direct. The 
Ninth movement appears to be 
rather a clumsy way of taking 
an additional loop on the thumb, 
but if you try the usual Indian 
way of putting each thumb 

simultaneously up into the index loop between the palmar string and the index, 
and then separating the thumbs from the index fingers, you will find it rather 
difficult. 

In the Tenth movement we see a new way of slipping the lower thumb loop over 
the upper loop and off the thumb. The turning of the palms away from you to 
form the finished figure is a movement we shall meet with repeatedly ; in this figure 




Fig. 46. 



OSAGE DIAMONDS 



27 




Fig. 47. 




Fig. 48 




it is not essential to the success of the pattern, but in many other figures the final 
pattern will not appear unless the far strings are drawn tight by turning the palms 
away from you. 



28 



STRING FIGURES 



OSAGE TWO DIAMONDS 

The Osage Indian who taught me the preceding game gave me this one also ; 
he had no name for it. There is a Hawaiian example done with a single string 




loop preserved in the Philadelphia Free Museum of Science and Art. . It was 
collected by Mr. Stewart Culin, is numbered 21448 and called Pa-pi-o-ma-ka-nu- 
i-nu-i (see Culin, 1, pi. xiv, a). 

First: Opening A, with the string doubled and used throughout as if it 
were a single string (Fig. 51). 

Second : Release the loops from the thumbs. 

Third : Pass each thumb away from you over the index loops and the near 




little finger strings, and take up, from below, on the back of the thumb the far little 
finger strings and return the thumb to its former position (Fig. 52). 

Fourth : Insert each thumb from below into the index loops, close to the index, 
between the finger and the strings which cross the palm and return the thumb to its 
position (Fig. 53). 

Fifth : Turn each thumb down toward the other thumb (Fig. 54, Left hand), 



OSAGE TWO DIAMONDS 



29 




Fig. 54 




Fig. 55. 



and, letting the lower loops slip off the thumb, turn the thumb up toward you (Fig. 
54, Right hand). 

Sixth : Insert each index from above into the triangle formed between the 
thumb and index by the palmar strings looping around the strings of the thumb 
loops (Fig. 55), then, while turning the palms downward and then away from you, 



3° 



STRING FIGURES 



release the loops from the little fingers, and separate the index fingers widely from 
the thumbs to extend the figure (Fig. 56). 

This is a slightly different and abbreviated form of the Osage Diamonds. 




Of course it can be done also with a single string loop, but the final pattern is not so 
effective and closely resembles the final figure of the Navaho "Twin Stars." 



DRESSING A SKIN 



Kt 



Dr. Haddon learned "Dressing a Skin" from Mr. Harlan I. Smith of the 
American Museum of Natural History, New York, who found it among the Salish 
Indians of Thompson River, British Columbia, when on the Jessup North Pacific 
Expedition. (See Smith p. 282, fig. 270, a, 1-7 and Haddon 5, p. 217.) 

First : Opening A. 

Second : Release the loops from the little fingers, but do not separate the hands ) 
let the long loop hang down (Fig. 57). 

Third : Toss this long loop toward you over all the other strings and let it hang 
down on the near side (Fig. 58). 

Fourth : Bend each thumb down into its own loop, over that part of the string 
of the hanging loop which crosses over the thumb loop (Fig. 59 Left hand), and let 
the original thumb loop slip over the knuckle and off the thumb (Fig. 59, Right hand). 



DRESSING A SKIN 



3i 




Fig. 57. 




Fig. 58. 




Fig. 59. 



3 2 



STRING FIGURES 



Then turn the hands with the palms away from you and, drawing the strings tight, 
extend the figure between the thumbs and index fingers (Fig. 60). 

The object of the Third movement is to get each far index finger string into a 




convenient position for drawing it through the thumb loop. This movement may 
be done by drawing each far index string toward you on the thumb and then re- 
leasing the little finger loops and the original thumb loops. 

A FISH-SPEAR 




This little figure comes from Murray Island, 
Torres Straits, where it is known as Baur = a Fish- 
spear (see Rivers and Haddon, p. 149, Fig. 1). It 
is identical with "Pitching a Tent," of the Salish 
Indians, British Columbia, obtained by Mr. Harlan 
I. Smith, when he secured " Dressing a Skin." Sev- 
eral stages of " Pitching a Tent " are illustrated by 
Mr. Smith (p. 282, Fig. 270, b, 1-4) and the game 
itself is described by Dr. Haddon (5, p. 217). Dr. 
Haddon has since found it played by the Clayoquaht 
Indians, Nootka tribe, Vancouver Island, at the 
St. Louis Exposition under the name " Sea-Egg 
(Echinus) Spear." There is a finished pattern in 
the Philadelphia Free Museum of Science and Art, 
No. 22608 from Zuni, New Mexico, collected by Mr. 
Stewart Culin. 

First : Put the loop of string on both hands in 
the First Position. 

Second : Insert the right index, from above, be- 



A FISH-SPEAR 



33 



hind the string crossing the left palm, and draw out the loop to the right, twisting 
it several times by rotating the right index. 




Fig. 62. 



Third : With the left index pick up from below the string crossing the right 
palm, being sure to pick it up between the strings of the right index loop and near 




Fig. 63 



the right index where the loop is not twisted (Fig. 6i). Separate the hands and 
draw the strings tight (Fig. 62). 

Fourth : Release the loops from the right thumb and little finger, and sepa- 
rate the hands. The points of the spear will be on the thumb, index, and little 
finger of the left hand, and the handle will be held by the index of the right hand 
(Fig. 63). 



34 



STRING FIGURES 



A SEA-SNAKE 



The " Sea-snake " is played by the natives of Murray Island, Torres Straits, 
they call it Pagi = a Sea-snake. It is described by Rivers and Haddon (p. 152, 
Fig. 9). Partington (pi. 341, 3) gives a drawing of a finished pattern from Torres 
Straits, preserved in the British Museum (A. C. Haddon Collection) and labelled 
" cat's-cradle in the form of a water snake (gare)." 

First : Opening A. (The left palmar string must be taken up first.) 
Second : Keeping all the loops securely on the fingers, turn the hands with the 
palms down and the fingers pointing toward one another. Move the right hand 




Fig. 65. 



toward you, then to the left, and carry it up and away from you over and past the 
left hand (Fig. 64) ; turn the hands with the fingers pointing upward and draw the 
strings tight (Fig. 65). This movement brings all the strings from the palm of the 
left hand around the base of the left thumb over the back of the left hand and then 
to the right hand from the far side of the left hand. 

Third : Put the entire left hand, from above, into the loop on the right index 
(Fig. 66), and move it away from you over the right little finger loop, and release 
the loop from the right index as it slips down on the left wrist (Fig. 67). Now 
carry the right hand around the left hand, by moving it away from you, to the left, 
and toward you over the left hand (Fig. 68), thus unwinding the strings. Separate 
the hands and draw the strings tight (Fig. 69). 



A SEA-SNAKE 



35 




Fig. 69. 



36 



STRING FIGURES 



Fourth : Release the loop from the left index and draw the strings tight (Fig. 
70). The string on the right hand is now in the First Position. 

Fifth : With the back of the left index take up, from below, the string on the 
right palm, as in Opening A, and separate the hands (Fig 71). 

Sixth : With the right thumb and index pick up the string on the back of the 




Fig. 70. 



left wrist (Fig. 72), lift it over the tips of all the left fingers, and let it drop on the 
palmar side; separate the hands (Fig. 73). 

Seventh : Release the loop from the left thumb. 

Eighth : Put the left thumb, from below, into the left index loop and with- 




Fig. 71. 



draw the left index (Fig. 74), in order to transfer the loop to the left thumb (Fig. 75, 
Left hand). 

Ninth : Turning the palms away from you, bend each index over the near little 
finger string (Fig. 75, Right hand), and pick up on the tip of the finger the far little 



A SEA-SNAKE 



37 




Fig. 73. 




Fra. 74. 




Fig. 75. 



38 



STRING FIGURES 



finger string (Fig. 76) ; holding these index strings high, release very gently the loop 
from the left thumb, and the snake will be seen winding about the two parallel 
strings of the figure (Fig. 77). 




Fig. 76. 



To make the snake swim to the right, draw the strings slowly to the left, allow- 
ing them to slip through the fingers of the right hand. 

This figure is interesting because the Second and Third movements are unlike 




anything we find in other figures, and also because the majority of the movements 
are done on the left hand only, instead of being done simultaneously on both hands. 
Of course the final figure must be unsymmetrical. 



A KING FISH 



39 



A KING FISH (Also a Catch) 



This is another of the games obtained by Dr. Haddon in Torres Straits. 
In Murray Island it is known as Geigi = King Fish, and in Mabuiag as Dangal = 
the Dugong, or Sea-cow (Rivers and Haddon, p. 151, Fig. 7). 

First : Opening A. (The left palmar string must be taken up first.) 




Fig. 78. 



Second : Release the loop from the right index. Separate the hands and draw 
the strings tight (Fig. 78). 

Third : Bend the left index down between the two index strings and hold firmly 
in the bend of the finger, the string which passes across the left palm and over the 




Fig. 79 



index strings (Fig. 79). Turn the left hand with the palm down and the fingers 
pointing to the right, and let all the strings slip off the left hand except the loop 



40 



STRING FIGURES 



held in the bend of the left index by which the strings can now be pulled tight 
(Fig. 80). 

Fourth : Arrange the loop held by the left index on the left hand in the First 
Position across the palm and behind the thumb and little finger. 

Fifth : Bring the palms together, point the left index downward, and put it, 




Fig. 80. 



from above, behind the string crossing the right palm; with the left index still 
pointing downward pull the string away from the palm (Fig. 81), and, while turning 
the left index first toward you and then upward (Fig. 82), separate the hands. This 
movement puts a twisted loop on the left index. 

Sixth : Bend the right index down into the right thumb loop (Fig. 83), and 




Fig. 81. 



Fig. 82. 



then, turning the palm away from you, put the right index, carrying the right far 
thumb string, down into the little finger loop (Fig. 84) and pick up with its tip the 
right near little finger string (Fig. 85). As you return the index to its original 




WARIA, A MAMOOSE, OR CHIEF, OF MABUIAG, TORRES STRAITS. 

An intelligent and literary Papuan. See Haddon's Head Hunters : Black, White and Brown. 

(Courtesy of Dr. A. C. Haddon.) 



A KING FISH 



4i 



position, of course, the string which was the right far thumb string slips off the 
index finger. This movement, which appears so complicated, is nothing more 
than the index finger pulling the near little finger string through the thumb loop. 




You now have on the left hand a string across the palm and a twisted loop 
on the index; and on the right hand a near thumb string and a far little finger string; 




the near little finger string is looped around the tip of the index after passing under 
the far thumb string and pulling it over to the centre of the palm. 




42 



STRING FIGURES 



Seventh: Bend the left little finger down into the left index loop (Fig. 86, 
Left hand) close to the index, and pull down and hold securely the left far index 
string. 

Eighth : Bend down the right little finger over the right far thumb string (Fig. 
86, Right hand) where it forms the lower string of a triangle, whereof the other 




Fig. 86 



two sides are formed by the original near little finger string held up by the tip of the 
right index. Pull down this far thumb string in the bend of the right little finger. 

Ninth : Let the loops slip off the thumbs and extend the figure between the 
index and little finger of each hand (Fig. 87). The strings on the index fingers 
must be kept well up toward the tips ; if the figure does not come properly it can be 




Fig. 87 



worked into shape, by pushing toward the centre of the figure with the thumb the 
straight string running, on each hand, from the index to the little finger. 

Tenth : If a second person put his hand through the middle diamond of the 
figure his wrist will be caught in a double loop when the strings are dropped from 
the left hand and pulled tight with the right; his wrist will not be caught if the 
strings be dropped from the right hand and pulled with the left hand toward the left. 



BAGOBO DIAMONDS 



43 



This is an interesting example of a figure which starts unsymmetrically, and 
then, after a series of very different movements by each hand comes out almost per- 
fectly symmetrical at the end. You will notice that there is a twist at the right end 




of the right lozenge and a simple loop at the left end of the left lozenge. If the right 
palmar string be taken up first in the formation of Opening A, and then the move- 
ments of the hands reversed, the wrist will be caught in a double loop when the 
right-hand strings are dropped. By forming the figure first one way and then the 
other you can add to the perplexity of the observer. 



BAGOBO DIAMONDS 

I was taught this figure by a young man of the Bagobo Tribe in the Philippine 
Reservation at the St. Louis Exposition in August, 1904. He had no name for it. 
I found that it was also 
known to the Philippine 
Linao Moros. 

First : Opening A. 
(The left palmar string 
must be taken up first.) 

Second : Release the 
loops from the little fin- 
gers. There is now a 
loop on each thumb and 
a loop on each index 
(Fig. 88). 

Third : Transfer the 
thumb loops to the index fingers by taking up from below with the back of each 
index the far thumb string (Fig. 89, Right hand). You now have on each index, 
two loops, an upper and a lower (Fig. 89, Left hand). 




Fig. 89 



44 



STRING FIGURES 



Fourth : Pass each thumb away from you over the lower near index string, 
and with the back of the thumb pick up, from below, the lower far index string, 
and return the thumb to the original position (Fig. 90). 

Fifth : Pass each thumb away from you over the upper near index string, and 




Fig. 90 




Fig. 91. 




Fig. 92. 



BAGOBO DIAMONDS 



45 



with the back of the 
thumb pick up, from 
below, the upper far 
index string, and re- 
turn the thumb to 
the original position. 
By these move- 
ments the far strings 
of the two index 
loops are crossed 
over their corres- 
ponding near strings, 





and pass around the backs of the thumbs to be- 
come lower and upper near thumb strings (Fig. 91). 

Sixth: Pass each ring finger over the upper 
near index string and pick up, from below, on the 
back of the ring finger the lower near index string 
(Fig. 92), and return the ring fingers to their posi- 
tions (Fig. 93). 

Seventh : > Pick up with the teeth, close to the 
back of the thumb, the right lower near thumb 
string, and lift it over the tip of the thumb, and drop 
it on the palmar side, being careful not to disturb 
the upper near thumb string. Repeat this move- 
ment on the left hand by picking up with the teeth 
the left lower near thumb string, lift it over the tip of 
the thumb, and drop it on the palmar side. 

Eighth : Keeping the strings drawn tight, swing 
the left hand down, and turn it palm up with the 
fingers pointing away from you; turn the right-hand 
palm down with the fingers pointing toward you 
and the completed figure appears (Fig. 94). 

In this figure the Fourth and Fifth movements 
are unlike anything observed in the preceding fig- 
ures. The interesting point, however, lies in the 
fact that while both hands do the same movements 
throughout the figure, the finished pattern will not 
appear unless one hand is revolved through half a 
circle. Moreover, when the pattern does appear, it 
is not perfectly symmetrical. 



Fig. 94. 



4 6 



STRING FIGURES 



BAGOBO TWO DIAMONDS 

This figure was shown me by the same young Bagobo who taught me the pre- 
ceding Diamonds. He had no name for it. 

First : Opening A. 

Second: Release the loops on the thumbs. 

Third: Turning the palms away from you, bend each index away from you 
over the far index string, and pick up from below on the back of the finger the near 




Fig. 95. 



little finger string; straighten the index and turn the palms facing each other (Fig. 
95, Right hand); then release the loop from each little finger (Fig. 95, Left hand) 
and draw the strings tight. You now have two loops on each index, an upper loop 
with a straight far string and a lower loop with a near straight string. The right 




lower far index string crosses on the near side of the left lower far index string; in 
the Bagobo Diamonds, the left lower near index string crosses on the near side of 
the right lower near index string. 



BAGOBO TWO DIAMONDS 47 

Fourth, Fifth, Sixth and Seventh : The same as the corresponding movements 
of the Bagobo Diamonds. 

The finished pattern appears on the completion of the Seventh movement 
(Fig. 96). 

This figure closely resembles the preceding figure, but in the Second and Third 
movements it is the little finger loops which are transferred to the index fingers. 
The final figure is symmetrical, and does not require any rotation of the hand to 
produce it. 



CHAPTER III 



FIGURES BEGINNING WITH OPENING A (CONTINUED) — MANY STARS — AN OWL — A SECOND OWL — A THIRD 
OWL — SEVEN STARS — TWO- HORNED STAR — TWO COYOTES — BIG STAR — NORTH STAR — CARRYING 
WOOD — OWL'S NET — TWO ELKS — A RABBIT — THE SUN. 






MANY STARS 



DR. HADDON showed me this figure in August, 1904. He obtained 
it in Chicago in 1901 from two old Navaho men, and has published 
a description of it (5, p. 222, pi. xv, Fig. 3). I also saw it done by the 
two Navaho girls who taught me other Navaho figures. It is called Son-tlani by 
the Navahos. Mr. Stewart Culin has preserved two examples of this pattern in the 

Philadelphia Free Mu- 
seum of Science and 
Art, one (22731) from 
Isleta, New Mexico ; the 
other (22714) from St. 
Michael's Mission, Ari- 
zona. 




First : Opening A. 

Second : Pass each 

thumb away from you 

over the far thumb 

string and both index 

strings, and pick up 

from below, on the back of the thumb, the near little finger string (Fig. 97, Left 

hand), and return the thumb to its original position (Fig. 97, Right hand). 

Third : Bend each middle finger down toward you over the index strings, and 
take up from below, on the back of the finger, the far thumb string (Fig. 98, Left 
hand) and return the middle finger to its original position (Fig. 98, Right hand). 
Release the loops from the thumbs (Fig. 99). You now have a loop on each 
index, a loop on each middle finger, and a loop on each little finger. 

Fourth: Turning the palms slightly away from you, pass each thumb away 
from you over the near index string, but under the far index string, both strings on 

48 



MANY STARS 



49 



the middle finger and also under both strings on the little finger; then drawing the 
thumb toward you, take up on the back of the thumb the far little finger string 




Fig. 98 




Fig. 99. 




Fig. 100 



(Fig. ioo, Left hand) and return the thumb to its position, bringing back with it 
through the index loop only the far little finger string (Fig. ioo, Right hand). Re- 
lease the loops from the little fingers. 



5° 



STRING FIGURES 



Fifth : Put the tips of the right thumb and index together, and put the tips of 
the left thumb and index together, then turning each hand slightly away from you 
pass these fingers over the far thumb string and the index loop and away from you 
under and past the two strings coming from the middle finger. Now, drawing 




Fig. 101 



the thumb and index (still held together) toward you, take up on their tips the far 
middle finger string, and draw it toward you under the near middle finger string 
(Fig. 101, Left hand). Let the twisted loop slip off the middle finger, and widen 
out the loop held on the tips of the thumb and index by separating these fingers 
(Fig. 101, Right hand). 

You now have a loop on each thumb, a loop on each index, and a loop passing 
around both thumb and index. 

Sixth : Keeping all the loops carefully in place on the right hand, with the right 
thumb and index lift from the back of the left thumb the lower loop on the left 




Fig. 102. 



thumb up over the upper loop (which passes around both thumb and index), then 
entirely off the left thumb, being careful not to take off also the upper loop, and let 
it drop on the palmar side of the thumb (Fig. 102). With the right thumb and 



MANY STARS 51 

index in the same way lift the lower left index loop over the upper left index loop and 
off the left index. 

Keeping all the loops carefully in place on the left hand, with the left thumb 
and index lift the lower loop on the right thumb up over the upper loop, off the right 
thumb, and let it drop on the palmar side. With the left thumb and index, in the 




same way, lift the lower right index loop over the upper right index loop, then off 
the right index, and let it drop on the palmar side. 

You now have on each hand a single loop passing around both thumb and 
index. Two other loops are held by that part of the loop passing from the back 
of the thumb to the back of the index (Fig. 102, Right hand). 

Seventh : Put each middle finger from below up on the far side of the lower 
near string of the four passing around the string running from the back of the thumb 




to the back of the index; bend the middle finger toward you (Fig. 103), and pull this 
lower near string down, of course on the near side of the other three strings, and 
letting the loop slip off each thumb, extend the figure between the index fingers 
and the middle fingers, bent on the palms (Fig. 104). 

Seventh A: According to Dr. Haddon (5, p. 222) the Navahos have another 
way of doing this movement. 



52 



STRING FIGURES 



Bend each thumb away from you, and pull down the lower near string of the 
four strings forming the two loops held out by the loop passing around the thumb 
and index (Fig. 105, Right hand), and extend the figure between the index fingers 
and thumbs, holding the palms of the hands away from you (Fig. 106). 

On the completion of this figure, you will want to have the string again as a 
single loop, but unless you are careful it will get very much tangled. The way to 




prevent this is as follows : Place the completed figure on your lap, and draw apart 
the straight strings which form the top and bottom of the figure; then the string will 
pull out into a single loop. This is true for practically all string figures. 

I have put "Many Stars" as the first of a series of ten Navaho figures, which 
are all done in much the same way, but come out in characteristic patterns in the 




Fie. 106. 



end. They all start with Opening A, or a modification of it ; after that, however, 
some go on as " Many Stars," .but end differently; others have a few new movements 
and then end with some from " Many Stars," while others begin and end as " Many 
Stars," but have different intermediate movements. 



AN OWL 



53 



"Many Stars " exhibits several movements which are unlike any we have hith- 
erto studied. The Fifth, which appears to be a movement peculiar to these 
Navaho figures, is a clever way of putting the 
middle finger loop around the thumb and index 
and turning it over in the transfer. 

The result of the Sixth movement is inter- 
esting, because when the lower loop on each 
thumb and on each index is slipped over the 
upper loop and off the finger, it cannot run 
down the upper loop toward the centre of the 
figure in the form of a noose or ring, for 
the upper loop is a loop common to both 
thumb and index, hence the two loops are 
merely strung on the string of this thumb- 
index loop which passes from the back of the 
thumb to the back of the index. The Seventh 
movement is very characteristic of the Na- 
vaho figures; it may occur in the middle of 
the figure, or more than once in the same figure. 




Fig. 107. 



AN OWL 




This first " Owl " was obtained by Dr. Haddon from the two old Navaho 
men who showed him "Many Stars." (See Haddon 5, p. 222, pi. xv, Fig. 4.) 
It is called Nas-ja = an Owl. There is an example of the finished pattern in the 
Culin collection in the Philadelphia Free Museum of Science and Art (22716), 

from St. Michael's Mis- 
sion, Arizona. 

First: First position. 

Second : Put the right 
index from above down 
behind the string on the 
left palm (Fig. 107), draw 
it out and twist it by 
twice rotating the index 
toward you and then up. 
Separate the hands (Fig. 
108). 




54 



STRING FIGURES 




Fig. 109. 



Third : Take up from below with the left index the 
string on the right palm, not through the right index loop 
as is usual, but between the near index string and the 
thumb (Fig. 109). Separate the hands. 

Fourth: Proceed now as in "Many Stars," from the 
Second movement to the very end, concluding with the 
Seventh or the Seventh A movement. The "Owl" will 
then be formed (Fig. no). 

The movements of the " Owl " are all the same as 
those of " Many Stars " except the Second and Third. 
The Second movement is about the only way you can 
put a twist and a half in the index loop, by the index 
itself, and restore the index to its usual position; if you 
rotate the index after the usual formation of Opening A 
you put one twist in the index loop. The Third move- 
ment is peculiar to this figure. 




A SECOND OWL 

The two following " Owls " were taught to me by Zah Tso and her sister, Na- 
vahos from Gallup, New Mexico, at the St. Louis Exposition, in November, 1 904. 

First : Opening A. 

Second : Bend each index down between the far index string and the near little 
finger string, and bring it toward you and up between the near index string and the 
far thumb string (Fig. in). The index loop, which has been kept on the finger 
during this movement, is thereby given a single twist. 

Third : Complete the figure by doing the Second, Third, Fourth, Fifth, Sixth 
and Seventh movements of "Many Stars" (Fig. 112). 




ZAH TSO, AN ARIZONA NAVAHO OF GALLUP, NEW MEXICO. 
(Courtesy of Mr. S. C. Simms.) 



A THIRD OWL 



55 



The movements of this figure are similar to those of "Many Stars," except 
for the additional Second movement which puts a twist in the index loops. 



A THIRD OWL 

An active imagination is required to find this Owl. 

First, Second and Third : Similar to the First, Second and Third movements 
of "Many Stars." 

Fourth : Put each thumb from below into the index loop, then bend it away 
from you over the far index string and under all the other strings; now, drawing 




the thumb toward you, catch on its back the far little finger string, and return the 
thumb to its position, thus drawing the far little finger string through the index 
loop. Release the loops from the little fingers. 




Fig. 112. 



56 



STRING FIGURES 



Fifth : Complete the figure by doing the Fifth, Sixth and Seventh movements 
of "Many Stars" (Fig. 113). 

The figure will be extended more perfectly if you give the upper index string 
one more turn around the tip of each index finger. 

The only difference between the movements of this figure and those of " Manj 




Stars" is in the Fourth movement; you draw the far little finger string back through 
the thumb loop from above, instead of from below. 



* ** W + 



SEVEN STARS 



This is another of the Navaho games taught me by the two Navaho girls from 
Gallup, New Mexico. The native name is Dil-ye-he = the Pleiades. The Phila- 
delphia Free Museum of Science and Art has an example of the finished pattern, 

No. 22717, collected 
by Mr. Culin from 
the Navahos at St. 
Michael's Mission, 
Arizona. 

The first five 
movements are the 
same as the first five 
movements of 
"Many Stars." 

Sixth : Withdraw 
each thumb from the 

loop, passing around both thumb and index, and keep this loop high up on the 
index. You now have two loops on each index and a loop on each thumb. 

Seventh: Pass each thumb from below through both index loops (Fig. 114); 
then with the right thumb and index lift the lowest (the original) left thumb loop 




SEVEN STARS 



57 



over the upper two thumb loops (which 
pass around both thumb and index) 
and entirely off the left thumb (Fig. 
115); let it drop on the palmar side. 
In the same way with the left thumb 
and index lift the lowest right loop over 
the upper two thumb loops and entirely 
off the right thumb. 

Eighth: Put each middle finger 
from below into the thumb loop and then 
up on the far side of the upper straight 
string crossing this loop, bend the figure 
toward you (Fig. 116), and pull this 
straight string down. Release the loops 
from the thumbs, and extend the fig- 
ure between the index fingers and the middle fingers closed on the palm (Fig. 
117). An extra turn around the index fingers displays the pattern better. 




Fig. 115. 




Fig. 116. 




58 



STRING FIGURES 



This figure differs from "Many Stars" only in the Sixth and Seventh move- 
ments; each thumb loop is slipped over the two index loops, instead of both the 
thumb and index loops being slipped over the loop common to the thumb and index. 



TWO-HORNED STAR 

This pattern is known to the Navahos as Son-bi-tere. I learned it from 
the same source as the preceding figures. In the Culin collection in the Phila- 
delphia Free Museum of Science and Art a finished pattern, 22716, from St. 
Michael's Mission, Arizona, is labelled So-bide-hulonni = Horned Star. At Grand 
Canyon, Arizona, a Navaho called it " Cow's Head." 

The first five movements are the same as the first five movements of "Many 
Stars." 

Sixth : Withdraw each thumb from the loop passing around both thumb 
and index, and keep this loop high up on the index (Fig. 118). You now have two 
loops on each index and a single loop on each thumb. 

Seventh : With the right thumb and index pick up from the back of the left 
index the left lower index loop (whereof the near string passes under the thumb 




Fig. 118 



loop and nearest to the thumb), and lift it up, over the left upper index loop, en- 
tirely off the left index, and let it drop on the palmar side. With the left thumb 
and index in like manner lift the right lower index loop over the right upper index 
loop, entirely off the right index, and let it drop on the palmar side. 

Eighth : Put each thumb from below into the index loop (Fig. 119) and, with 
the thumb and index of the other hand, in turn, draw the lower thumb loop over 
the upper thumb loop entirely off the thumb, and let it drop on the palmar side 
(Fig. 120). 

Ninth : Put each middle finger from below between the strings forming the 
thumb loop, and then up on the far side of the upper straight string which passes 



TWO-HORNED STAR 



59 



from one side to the other and forms a loop around the string running from the 
back of the thumb to the back of the index. Bending the middle finger toward 




Fig. 119. 




Fig. 120. 




Fig. 121. 



you over this straight string (Fig. 121), pull it down; release the loops from the 
thumbs, and draw the strings tight. 



6o 



STRING FIGURES 




The figure is extended between the index fingers and the middle fingers closed 
on the palms (Fig. 122). 

The "Two-horned Star" is a modification of "Many Stars" because in the 
Seventh movement the lower index loop is slipped off over the upper index loop, 
and in the Eighth movement the thumb loop is slipped off over the index loop. 



TWO COYOTES 



^^S ^flf 



The Navahos, Zah Tso and her sister, taught me this game also, calling it 
Ma-i-at-sani-il-watli. An example (22718) in the Philadelphia Free Museum of 
Science and Art, from St. Michael's Mission, Arizona, is labelled Mai-i-atlsa-yill- 




Fig. 123 



TWO COYOTES 



61 




Fig. 124. 



aghueli = Two Coyotes 
Running Apart. 

First, Second and 

Third movements are 

the same as the First, 

Second and Third move- 
ments of "Many Stars." 
Fourth: Pass each 

thumb from below into 

the index loop, and bend 

it over the far index 

string; turning the palm 

away from you, pass the thumb away from you under all the strings, and catch the 

far little finger string on the far side with the back of the thumb (Fig. 123, Left 

hand), and return the thumb to its posi- 
tion (Fig. 123, Right hand). Release 
the loops from the little fingers. 

Fifth: Put the tips of the right 
thumb and index together and put the 
tips of the left thumb and index together; 
now, turning the palms slightly away 
from you, pass these fingers over the 
thumb and index loops and away from 
you under and past the two strings of the 
middle finger loop. Then drawing the 
thumb and index (still held together) 

toward you, take up on their tips the far middle finger string and draw it toward you 

under the near middle finger string. Let the twisted loop slip off each middle finger 

and withdraw the thumb, leav- 
ing the loop well up toward the 

tip of the index (Fig. 124). 

Sixth : Keeping all the loops 

carefully on the left hand, with 

the left thumb and index lift 

the right lower index loop over 

the right upper index loop, and 

entirely off the finger (Fig. 125), 

and let it drop on the palmar 

side, being careful not to take 

off also the upper loop. In the same manner with the right thumb and index 

lift the left lower index loop over the left upper index loop, and entirely off the 

index (Fig. 126). Do not pull the strings tight after this movement. 




Fig. 125. 




62 



STRING FIGURES 



Seventh: Put the right thumb from below into the right index loop (Fig. 127, 
Right hand), and with the left thumb and index (Fig. 128) or with the teeth, lift 
the right near thumb string up over the tip of the thumb, without disturbing the 




Fig. 127. 



string which passes around both thumb and index. In like manner put the left 
thumb from below into the left index loop (Fig. 127, Left hand), and with the right 
thumb and index (Fig. 129), or with the teeth, lift the left near thumb string over 





the tip of the left thumb. Do not pull the strings tight after this movement. There 
are now two straight strings which cross the thumb loop and form a loop around the 
string passing from the back of the thumb to the back of the index. 



TWO COYOTES 



63 



Eighth : Put each middle finger from below between these straight strings, so 
that the lower string is on the far side of it and the upper string on the near side of it 
(Fig. 130) ; then bend the middle finger down toward you over the upper string and, 




Fig. 130. 



holding it in the bend of the finger, draw it down and away from you through the 
thumb loop, and release the loops from the thumbs. Closing each middle finger 
down on the palm, hold the index strings high on the finger tips and separate the 




hands (Fig. 131). If the strings be permitted to slip around the index fingers the 
"coyotes" will run away from each other. 

When we analyze this figure we see that it has the first four movements of the 
"Third Owl," the Fifth of "Many Stars," and the Sixth, Seventh and Eighth of 
the " Two-horned Star." 



6 4 



STRING FIGURES 



BIG STAR 

This is still another of the figures taught me by the two Navaho girls from 
Gallup, New Mexico. 

First: Opening A. 

Second : Pass each thumb away from you over the far thumb string and the 
near index string and under the far index string and both strings of the little finger 
loop; then, drawing the thumb toward you, take up on the back of its tip the far 




Fig. 132. 



little finger string and bring it toward you, under the near little finger string and 
through the index loop, by restoring the thumb to its position (Fig. 132). 

Third : Now complete the figure by doing the Third, Fourth, Fifth, Sixth 
and Seventh movements of "Many Stars " (Fig. 133). 

This figure differs from "Many Stars" only in the second movement. In 
"Many Stars" it is the near little finger string that is drawn toward you over the 




Fig. 133. 



index loop. In this figure it is the far little finger string which is drawn toward you 
through the index loop — in other words, the Second movement is like the Fourth. 



NORTH STAR 



65 



NORTH STAR 

I obtained this figure in the same way as the preceding figure. The Phila- 
delphia Free Museum of Science and Art has an example of the finished pattern, 




Fig. 134. 

No. 22713, collected by Mr. Stewart Culin at St. Michael's Mission, Arizona, and 
called Tsun-tsi = Big Star. 

First : Opening A. 

Second: Transfer the thumb loops to the middle fingers, by bending each 
middle finger toward you over the index loop, and taking up from below on the 
back of the finger the far thumb string (Fig. 134, Left hand); withdraw each 




thumb from its loop, and return the middle finger to its position (Fig. 134, Right 
hand). 

Third : Then complete the figure by doing the Fourth, Fifth, Sixth and Seventh 
movements of "Many Stars" (Fig. 135). 

The "North Star" differs from "Many Stars" only by the omission of the 
Second movement. 



66 



STRING FIGURES 



CARRYING WOOD 

Dr. Haddon taught me this figure in August, 1904. He learned it in Chicago 
in 1 901, from the two old Navaho men who showed him " Many Stars" (5, p. 221, 
pi. xv, Fig. 2). It is called by the Navahos, Chiz-jo-yet-li. There are two examples 
of the finished figure in the Culin Collection of the Philadelphia Free Museum of 
Science and Art, one (22724) from the Navahos at St. Michael's Mission, Arizona, 




Fig. 136 



is labelled Chizh-joyeli = Hacking the Wood, the other (22605) from Zuni, New 
Mexico, is called Pish-kap-po-a, pi-cho-wai-nai. 

First : Opening A. 

Second : Put the tips of the thumb and index of each hand together, and bind 
these fingers away from you over the far index string, and pick up from below the 




Fig. 137. 



near little finger string, and return the thumb and index to their usual positions 
(Fig. 136) ; then separate their tips and release the loop from the little finger. This 
movement transfers the little finger loop to both thumb and index (Fig. 137). 

Third : Keeping all the loops carefully in place on the right hand, with the right 
thumb and index lift the lower loop on the left thumb up over the upper loop (the 



CARRYING WOOD 



67 



one passing around both thumb and index), then entirely off the left thumb (Fig. 
138), and let it drop on the palmar side, being careful not to take off also the upper 
loop. Then with the right thumb and index lift the left lower index loop over the 




Fig. 138. 

upper index loop (the one which passes around both thumb and index) and 
off the index, and let it drop on the palmar side. 

. In the same manner, keeping the loops in place on the left hand, with the left 
thumb and index lift the right lower thumb loop up over the right upper thumb 
loop (the one passing around both thumb and index), entirely off the thumb, and 
let it drop on the palmar side. Then with the left thumb and index lift the right lower 
index loop up over the right upper index loop (the one passing around both thumb 
and index), entirely off the right index, and let it drop on the palmar side. 

You now have on each hand a single loop passing around both thumb and 
index, and on that part of this loop which passes from the back of the thumb to the 




back of the index are two more loops (Fig. 139). Of the four strings forming 
these two loops, two are upper strings and two are lower strings when the figure 
is held horizontally. Of the upper strings, the far one runs obliquely away from 



68 



STRING FIGURES 



you and passes over the far index string, but the near one passes straight across to 
the other side. 

Fourth : Now bend each thumb away from you, and pull down this near upper 
string (Fig. 140), (which can always be recognized as being the only free straight 




Fig. 140 



string passing across over the figure), and letting the loop slip off the thumb, extend 
the figure between the thumbs and index fingers, holding the palms away from you 
(Fig. 141). 

" The two central strings that lie side by side represent the carrying band of the 
Navaho; the other strings represent the wood that is being carried." (Haddon.) 




Fig. 141. 



The Navahos have another, more characteristic, way of doing the Fourth or 
final movement, as follows: 

Fourth A: Put each middle finger from below up on the far side of the near 
upper straight string, and bending the middle finger, pull this string down, of course 
on the near side of the other three strings; then letting the loop slip off each thumb, 
extend the figure between the index and middle fingers, and at the same time turn 
the palms away from you. 



OWL'S NET 



69 



"Carrying Wood" is made up of some of the simple movements of "Many 
Stars" and a new one, the Second. 

OWL'S NET 

This figure was obtained for me by Mr. John L. Cox, at Hampton, Virginia, 
from a Klamath Indian, Emma Jackson, from Oregon. 

First : Opening A. 

Second : Pass each thumb away from you over the far thumb string and the 




near index string, and pick up from below on the back of the thumb the far index 
string, and return the thumb to its position (Fig. 142). 

Third : Bend the index and middle finger of each hand down into the upper 
thumb loop, and then pass the index to the near side of the lower near thumb 




Fig. 143 



string, and pass the middle finger through the lower thumb loop (Fig. 143). Hold- 
ing the lower near thumb string tightly between the index and middle fingers, draw 
these fingers away from you, straighten them, and by turning the palms away from 



70 STRING FIGURES 

you, put the lower near thumb string around the tip of each index (Fig. 144). 
Release the loops from the thumbs and draw the hands apart. 

Fourth : Pass each thumb away from you over the near index string and under 
all the other strings, and, drawing the thumb toward you, catch on its back the far 




little finger string (Fig. 145, Left hand) and return the thumb to its position (Fig. 
145, Right hand). Release the loops from the little fingers. 

Fifth : Put the middle, ring and little fingers of each hand from below (toward 
you) into the thumb loop (Fig. 146), and pull this loop down by closing these fingers 
on the palm; withdraw the thumbs. Transfer each upper index loop to the thumb 




Fig. 145 



by putting the thumb into it from below, withdrawing the index and returning the 
thumb to its position. 

Sixth : Keeping each middle finger still in the loop it is helping to hold to the 
palm, pass it toward you over the far thumb string (Fig. 147), and draw this string 
through the loop held to the palm (Fig. 148). Now take the ring and little fingers 



OWL'S NET 



7i 




Fig. 146. 




Fig. 147. 




Fig. 148. 



72 



STRING FIGURES 



from the loop they have been holding and pass them toward you into the loop with 
the middle finger (Fig. 149). 

Seventh : Put each middle finger toward you between the two strings which 
form a loop around the palmar string, and bending the finger over the lower string 




Fig. 149 



(Fig. 150, Left hand), draw it away from you, releasing the loop held down by the 
ring and little fingers (Fig. 150, Right hand). Put the ring and little fingers into 
the loop held down by the middle finger and withdraw the middle finger (Fig. 151). 
Eighth : Pass each middle finger from below through the index loop (Fig. 152, 
Left hand), then bend it toward you under the near thumb string, then bend the 
index toward you down on the near thumb string, which is thus held securely between 
the first joints of the index and middle finger (Fig. 152, Right hand). Now draw 




Fig. 150, 



these two fingers away from you, allowing the index loop to slip over their tips to 
the palmar side, and by turning the palms away from you, put the near thumb string 
around the tip of the index. Release the loops from the thumbs and draw the 
hands apart (Fig. 153). 



OWL'S NET 



73 



The finished pattern is practically the same as the pattern of "Many Stars," 
the end diamonds of the middle row, however, are not looped to the diamonds of 




Fig. 151. 




Fig. 152. 




Fig. 153. 



the upper row, as in " Many Stars," but the strings merely cross each other at these 
points. If, in the Second movement, you pick up the near little finger string with 



74 



STRING FIGURES 



the thumb, instead of the far index string, the "Many Stars" pattern will be formed. 
Apparently the methods of forming the two figures are very different, only the 
Fourth movement being the same in both; yet, if you examine them closely, you 
will notice that the Third movement of the "Owl's Net" accomplishes the turning 
over of the middle finger loop (originally the thumb loop) observed in the Fifth move- 
ment of " Many Stars" ; the Fifth movement of the " Owl's Net" merely shifts the 
loops to other fingers; the Sixth and Eighth movements of the " Owl's Net" together 
produce the same results as the Sixth movement of "Many Stars"; and the Seventh 
movement in both figures, although done differently, twists the side strings in pre- 
cisely the same manner. 

The methods used in the "Owl's Net" exhibit the highest type of native skill. 
Every movement is carried on by both hands simultaneously, and there is no arrang- 
ing of loops on the one hand by the fingers of the other hand. 



o (PIT 



TWO ELKS 



This is a Klamath Indian figure from the same source as the " Owl's Net." 

First : Opening A. 

Second: Pass each thumb away from you over the far thumb string, both 
strings of the index loop, and under both strings of the little finger loop. Now 




Fig. 154 



lift up the near little finger strings temporarily on the tips of the index fingers (Fig. 
154), and draw toward you on the back of the thumb the far little finger string, 
by returning the thumb to its usual position and dropping the near little finger 
strings from the tip of each index (Fig. 155). 

Third: Bend the index and middle finger of each hand down through the 
upper thumb loop and pass the index to the near side of the lower near thumb 



TWO ELKS 



75 




Fig. 155. 





string; then pass the middle finger to the far side of the same string (Fig. 156), 
draw the string up between the two fingers, and put it on the tip of the index by 
turning the palm away from you. Release the loops from the thumbs and draw 
the hands apart (Fig. 157). 



7 6 



STRING FIGURES 



Fourth : Transfer the upper index loops to the thumbs, by putting each thumb 
from below into the upper index loop, withdrawing the index and returning the 
thumb to its position (Fig. 158). 

Fifth : Pick up, between the tips of the left thumb and index, the right near 
thumb string (close to the right thumb) (Fig. 159), lift the loop entirely off the right 




thumb, turn it over so that its near string becomes its far string and then place the 
loop over the two strings of the right little finger loop (Fig. 160). Now with the 
left thumb and index draw the far little finger string through the original right 





Fig. 159. 



Fig. 160. 



thumb loop (Fig. 161); put the right thumb under the far little finger string just 
pulled through the loop, and pick up from below on the back of the right thumb 
the string of the former thumb loop which you have just been holding with the 



TWO ELKS 



77 



left thumb and index (Fig. 162) and return the thumb to its position (Fig. 163, 
Right hand). Repeat the same movement on the left hand as follows: Pick up, 
between the tips of the right thumb and index, the left near thumb string (close to 





Fig. 161. 



Fig. 162. 



the left thumb), lift the loop entirely off the left thumb, turn it over so that its near 
string becomes its far string and then place the loop over the two strings of the left 
little finger loop; now with the right thumb and index draw the far little finger 
string through the original left thumb loop; put the left thumb under the far little 
finger string just pulled through the loop, and pick up from below on the back of 




Fig. 163. 



the left thumb the string of the former thumb loop which you have been holding 
with the right thumb and index and return the thumb to its position (Fig. 163). 

Sixth : Pick up, between the tips of the left thumb and index, the right near 
thumb string (close to the right thumb), lift the loop entirely off the right thumb, 
turn it over so that its near string becomes its far string, and then place the loop 



78 



STRING FIGURES 



over the strings of the right little finger loop. Now, with the left thumb and index, 
draw the near little finger string through the original right thumb loop; put the 
right thumb under this near little finger string just pulled through the loop, and 
pick up from below on the back of the thumb the right near thumb string which 
you have been holding with the left thumb and index and return the thumb to its 




position. Repeat the same movement on the left hand, as follows : Pick up, between 
the tips of the right thumb and index, the left near thumb string (close to the left 
thumb), lift the loop entirely off the left thumb, turn it over so that its near string 
becomes its far string and then place the loop over the two strings of the left little 
finger loop. Now, with the right thumb and index, draw the near little finger 
string through the original left thumb loop ; put the left thumb under the near little 
finger string just pulled through the loop, and pick up from below on the back of 




the left thumb the near string of the former thumb loop which you have been holding 
with the right thumb and index and return the left thumb to its position. Separate 
the hands (Fig. 164). 

Seventh: Release the loops from the index fingers and separate the hands, 
drawing the strings very tight and moving the hands alternately up and down to 
make the "Elks" appear (Fig. 165). 



A RABBIT 



79 



The Fifth and Sixth movements of this figure exhibit what appear to be artificial 
methods, and yet it is difficult to see how the same results could be produced by any 
quicker or more simple procedure. 



A RABBIT 



u 




Fig. 166. 



This is another Klamath game obtained in the same way as the " Owl's Net." 

First: Opening A. . 

Second : Bend each middle finger down toward you into the thumb loop, and 

bend each index 

down toward you 

on the near side 

of the near 

thumb string 

(Fig. 1 66, Left 

hand), then, 

holding this 

string tightly be- 
tween these two 

fingers, straight- 

e n the fingers 

and turn the 

palms away from you to put the string around the tip of the index (Fig. 166, 

Right hand). Release the loops from the thumbs. 

Third : Pass each thumb from below into the little finger loop and draw toward 

you, on the back 
of the thumb, the 
near little finger 
string, the upper 
far index string and 
both strings of the 
lower index loop 
(Fig. 167). 

Fourth : Pass 
each thumb up and 
away from you over 
the upper near in- 
dex string, and pull 




Fig. 167. 



8o 



STRING FIGURES 



this string down on the ball of the thumb, letting the other strings slip off the 
thumb (Fig. 168). Turn the palms away from you and, still holding down the string 
with the thumbs, pass each thumb away from you under the far little finger string 




Fig. 168. 



and draw this string toward you on the back of the thumb. The string which was 
held down by the thumb, of course, is released during this movement (Fig. 169). 

Fifth : Insert each thumb from below (close to the index) into the small ring- 
like upper index loop (Fig. 1 70, Left hand) and draw the upper near index string, on 
the back of the thumb, down through the thumb loop, this latter loop slipping off 
the thumb during the movement (Fig. 170, Right hand). 

Sixth : Release the upper loop from each index (Fig. 171). 

Seventh : Pass the index, middle and ring fingers of each hand toward you and 
down into the thumb loop (Fig. 172); then gently release the loops from the little 




Fig. 169. 



fingers, and put each little finger toward you in the loop with the ring, middle and 
index fingers. Hold all four fingers of each hand down on the palm ; turn the hands 
with the palms facing each other. Lift up the near thumb string on the tip of each 



A RABBIT 



8j 




Fig. 170. 




Fig. 171. 




Fig. 172. 



82 



STRING FIGURES 




Fig. 173 



index, and withdraw the thumb. Some working of the strings is usually required 
to make the "Rabbit" appear (Fig. 173). 

This is an interesting figure because the majority of the movements are unusual, 
and are met with again only in the following figure. 

THE SUN 

Mr. Cox secured " The Sun " also from the Klamath Indian. 

First and Second: The same as the First and Second movements of the 
"Rabbit." 

Third : Pass each thumb from below up between the lower index loop and the 




Fig. 174 



little finger loop and draw toward you, on the back of the thumb, both strings of 
the lower index loop (Fig. 174, Right hand). 

Fourth : The same as the Fourth movement of the "Rabbit " (Figs. 174, Left 
hand; 175, 176). 

Fifth : Release the loops from the little fingers. 



THE SUN 



83 



Sixth : Insert the middle, ring and little fingers of each hand toward you (from 
above) into the thumb loop (Fig. 177) and withdraw the thumb. 

Seventh : Pass the thumb from below into the upper index loop in order to 
make this loop wider. Bend each middle finger down toward you over the upper 




Fig. 175. 




Fig. 177. 



8 4 



STRING FIGURES 



far index string and both strings of the lower index loop (Fig. 178) and draw these 
Strings down to the palm. Withdraw the ring and little fingers of each hand from 




Fig. 180. 

the loop which they have been holding and bend them toward you and down over 
the strings held down by the middle finger. 

Eighth : The "Sun" is made to appear by raising each thumb, thus lifting up 
the near index string which passes across its back (Fig. 179); if raised too high, 
the sun "sets" (Fig. 180). 



CHAPTER IV 



FIGURES BEGINNING WITH OPENING A (CONTINUED) A WELL FENCE AROUND A WELL A CRAB A 

TRIGGER FISH — RATTLESNAKE AND A BOY TWO SKUNKS TWO FOXES TWO SQUIRRELS LEASH- 
ING OF LOCHELL'S DOGS TWO HOGANS — A CARIBOO — A CIRCLE — TWO STARS — CASTING THE FISH- 
SPEAR AN ARROW A PORCUPINE. 



A WELL 

I OBTAINED this figure in August, 1904, from Dr. Haddon, who learned it 
from a native of Lifu, Loyalty Islands, who happened to be residing in Ma- 
buiag in Torres Straits. (See Rivers and Haddon, p. 149, Fig. 2.) In Lifu 
it is known as Tim, = a Well. It is precisely similar to the Torres Straits figure 
which in Murray Island, is called Ti Mela, — the Nest of the Ti bird, and in 
Mabuiag, Gul = a Canoe. 

First: Opening A. 

Second: Keeping the hands well separated, with the strings quite tight, and 
turning the palms slightly away from you, pass each index away from you over the far 




Fig. 181 



index string and the near little finger string and then well down into the little finger 
loop. Now, turning the palms gradually toward you, bend each index carrying 
these two strings toward you (with the tips pointed toward each palm), and then up 
between the near index string and the thumb (which must be kept upright), but 
not touching the thumb loop (Fig. 181). This movement brings the far index string 
and the near little finger string up toward you while the near index string slips away 
from you over the knuckle of the index and entirely off that finger. Now turn each 

85 



86 



STRING FIGURES 



index completely up, and straighten it (Fig. 182), when it will be seen that the 
original far index string and the near little finger string have both become far index 
strings. Release the strings passing around each little finger. 

You now have two loops on each index, twisted toward the centre of the figure; 
and a loop on each thumb (Fig. 183). 

Third : Turning the palms toward you, with the middle, ring and little fingers 




Fig. 182. 



of each hand pull straight down, as far as possible, the two far index strings (Fig. 
184). 

Fourth : Gently withdraw each thumb (Fig. 185, Right hand). 

Fifth : Bend each thumb away from you into the former thumb loop (now 
hanging from the top straight string of the figure), and pick up, with the back of 
the thumb, the diagonal string passing from the near side of the index down around 




Fig. 183. 



the two strings at the bottom of the figure (Fig. 185, Left hand), and pull it toward 
you through the hanging loop. 

Raise the thumbs toward you and the index fingers away from you, and keep 
the lower strings well down, by bending the middle, ring and little fingers around 
them, and the finished figure will appear (Fig. 186). 




Q <-> 

%< 

•J A 
v> P 

o 

—i ° 

2 u 



A WELL 



87 



The well is said to be "full of water" when the inverted pyramid of the figure 
is made high, and to be "dry" when the base and apex of the pyramid are brought 




to the same level, by letting the lower strings, held down by the fingers, come up to 
the same plane as the other strings. 

The Second movement is a new one; its purpose is to put the little finger loop 
on the index, above the original index loop, and turn it over in the transfer. The 
original index loop gets, of course, a twist in the process. The Fifth movement is 
the only practicable method of drawing the index string through the thumb loop 
from above. 



88 



STRING FIGURES 



FENCE AROUND A WELL 

This game is a continuation of " The Well "; it is called Sihnag, = " a Fence 
Around a Well," in Lifu, Loyalty Islands. It was taught Drs. Rivers and Haddon 
by the same native who taught them "The Well" (p. 149, Fig. 3). 

First: Form "The Well." 

Second : Pass each thumb away from you and put it up under the two near 
index strings, close to the index (Fig. 187); then, with the thumb and index of the 




Fig. 187 



right hand, pick up from the back of the left thumb the lower single left thumb 
loop, and draw it over the upper two loops and off the thumb, and drop it on the 
palmar side. 

With the thumb and index of the left hand, in the same manner, pick up the 




Fig. 188. 



lower single right thumb loop, and draw it over the upper two loops, off the 
thumb, and drop it. 

Release the loops from the index fingers. 

Third : Take all the fingers of each hand out of the lower loops which they 



A CRAB 



89 



have been holding, and let the figure hang on the thumbs (Fig. 188). Then put 
the four fingers of each hand toward you into the ring-like loops held by the thumb ; 




Fig. 189. 




remove the thumb; close the middle, ring and little fingers on the palm, and sep- 
arate the hands (Fig. 189). 

There are few string figures in which the final pattern is extended in such a 
simple manner as in this one. 



A CRAB 



Dr. Haddon obtained the " Crab " at Saguane, Kiwai Island, near the mouth 
of the Fly River, British New Guinea, where it is known as Kokowa, = a Crab. 
(See Rivers and Haddon, p. 151, Fig. 8.) 

First: Go through the movements necessary to form "The Well." 

Second : Turn the palms toward you and slightly upward, and slacken a little 

the strings held down by the little fingers ; then insert each little finger from below 

into the thumb loop, bend it over the near thumb string, and take the loop off the 

thumb (Fig. 190, Right hand), and hold it down together with the two lower strings 




Fig. 190 



9° 



STRING FIGURES 



of the figure. Separate the hands. The palms now face each other again, and 
the middle finger and the ring finger of each hand should be slipped out of the 





Fig. 192 




Fig. 193. 



triangle close to the hand, and the three lower strings held down by the little finger 
alone (Fig. 190, Left hand). 



A CRAB 



9i 



Third: Turn the palms away from you, and insert each thumb away from 
you into the little finger loop, then, turning the palms toward you, draw toward 
the palm with the bent thumb the diagonal string which runs upward from the 
little finger and serves to separate the two triangles near the hand. Now, still 




Fig. 194 



holding the string on the thumb, insert the thumb away from you behind the two 
strings running from the little finger to the far side of the index (Fig. 191, Right 
hand), and draw these strings toward you with the back of the thumb, withdrawing 
the little finger (Fig. 191, Left hand). 

Fourth : Turn the palms toward you, and insert each little finger toward you 
into the two thumb loops, and remove the thumb (Fig. 192). 

Fifth : Hold the loops well down with each little finger ; pick up from below 
with the back of each thumb the near index string which runs directly from index 
to index and draw it toward you; remove each 
index from its loops (Fig. 193). 

Sixth : Insert each index toward you into the 
loop held by the thumb, and with the back of the 
index pick up the near thumb string; return the 
index to its position and remove the thumb. 

Seventh : Keep the index loop well up on the 
tip of the finger; pass each thumb away from you, 
and pick up on the back of the thumb, and draw 
toward you (Fig. 194) the horizontal string which 
holds the side lozenge of the central figure to the 
vertical string running from the little finger to the 
near side of the index. 

Eighth : Bend each middle finger toward you 
down over all the strings, and hold them down tightly while you exchange the 
loops on the thumbs, putting the right thumb loop from the right thumb entirely 
on the left thumb and the left thumb loop from the left thumb entirely on the right 
thumb (Fig. 195); being careful not to twist the loops or let the loops slip off the 




9 2 



STRING FIGURES 



index fingers. Straighten the middle fingers and the index fingers, and separate 
the hands (Fig. 196). 

Ninth : Bend each middle finger toward you over the index loop, and bring it 
into the thumb loop from below; and take the loop off the thumb by lifting up the 




Fig. 196. 



far thumb string (Fig. 197), returning the middle finger to its former position, and 
withdrawing the thumb (Fig. 198). Turn the palms toward you, and bend down 
each middle finger, and with the back of the thumb, inserted into the middle finger 
loop from above, take up the far middle finger string, and thus turning the loop 
over, restore it to the thumb by putting the thumb again in its usual position (Fig. 
199, Right hand) and withdrawing the middle finger (Fig. 199, Left hand). 




Fig. 197. 



Tenth : Insert each thumb from below into the index loop, and with the back 
of the thumb catch the near index string and draw it down toward you through the 
thumb loop, and let the thumb loop slip off the thumb (Fig. 200). Release the 
loops from the index fingers and separate the hands. 



A CRAB 



93 




Fig. 198 




Fig. 199. 




94 



STRING FIGURES 



Eleventh : Transfer each thumb loop to the index, by putting the index into it 
from below, removing the thumb, and returning the index to its former position 
(Fig. 201). 

Twelfth : Holding carefully the loops on the index and little fingers, with the 
back of the thumbs pick up, within the small central triangle of the figure, the crossed 




Fig. 201 



strings which run from the little finger of one hand to the vertical string passing on 
the other hand from the little finger to the index (Fig. 202). Be careful to pick 
up these strings within the small triangle just where they cross, and in doing so 
keep the backs of the thumbs close together. The hands are then separated and 
put in their usual positions (Fig. 203). 

Thirteenth : Pass each thumb away from you into the index loop from below, 
and with the back of the thumb draw the near index string toward you (Fig. 204, 

Left hand), and completely through the 
two loops already on the thumb; then let 
these two loops slip entirely off the thumb 
(Fig. 204, Right hand). 

Fourteenth ; Release the loops from 
the index fingers and draw the hands apart. 
Fifteenth : Transfer each thumb loop 
to the index finger, by inserting the index 
into it from below, between the thumb 
and the small ring which passes around 
the thumb loop, withdrawing the thumb, 
and returning the index to its former 
position. 

Extend the figure between the tips of 

the index fingers and the little fingers 

closed down on the palms (Fig. 205). The two central lozenges represent the 

crab's body, the lines radiating therefrom are the legs, and the "pincers" are the 

small rings passing around the index loops. 




Fig. 202. 



A CRAB 



95 



The crab is a long figure, but the movements are not difficult; although it is 
rather hard to remember the order in which they come. The finished pattern has a 




Fig. 204. 




Fig. 205. 



greater likeness to the object it is supposed to represent than some of the string 
figures. 



9 6 



H* 



STRING FIGURES 



A TRIGGER FISH 



Dr. Haddon has kindly given me this unpublished figure which he collected 
in Torres Straits. The native name is Nageg. 

First, Second and Third : The same as the first three movements of " The 
Well." 

Fourth : Release the loop from the right thumb and let it hang down in front 
of the figure. Put the right thumb away from you, under the middle of the upper 




Fig. 206 



string of the figure (Fig. 206), into the upper middle triangle and with the ball of 
the thumb draw toward the right palm the string forming the right side of the 
triangle and also the far string of the former right thumb loop (Fig. 207); then 




Fig. 207 



pick up from the right side on the back of the thumb the right lower near index 
string (which runs obliquely down to the lower strings of the figure) (Fig. 208) and 
return the thumb to its position (Fig. 209). 



A TRIGGER FISH 



97 



Fifth : Take the right thumb out of the loop and insert it again into the loop, 
but in the opposite direction away from you. Bend the right thumb down on the 
right palm and pick up with the back of the thumb the two right far index strings 




Fig. 208. 




Fig. 209 




(passing from index to little finger) (Fig. 210) and draw them through the thumb 
loop which you allow to slip off the thumb as you return the thumb to its original 



9 8 



STRING FIGURES 



position (Fig. 211). Transfer the loops held by the right thumb to the right 
little finger by inserting the little finger toward you (from below) into the thumb 




Fig. 211. 



loops, and withdrawing the thumb ; close the little finger down on the palm (Fig. 
212). 

Sixth : Pick up from below on the back of the right thumb, close to the right 
index finger, the upper right near index string (which runs straight across to the 




left index). Withdraw the right index from both its loops and return the right thumb 
to its position (Fig. 213). 

Seventh : Release the loop from the left thumb and let it hang loosely. Do 
not draw its strings tight (Fig. 214). 

Eighth: With the left thumb draw down the left lower near index string 
(which runs obliquely to the lower strings of the figure) (Fig. 215) until it is below 
these lower strings and let it hang down ; then pass the left thumb away from you 



A TRIGGER FISH 



99 




Fig. 213 




Fig. 214 




Fig. 215 



L 9F c, 



IOO 



STRING FIGURES 



over the two lower strings and pick up from below on the ball of the left thumb, 
to the left of the hanging thumb loop, the hanging index string (Fig. 216), and draw 
it to the left by putting the thumb against the left index. Draw the hands apart 
and the "Fish" is formed (Fig. 217). The "head" is near the right hand, the 
"tail" near the left hand and the "body," with the upright dorsal fin, near the 




Fig. 216. 



middle of the figure. If the body comes out very small, it can be made larger by 
keeping all the strings in place on the left hand and drawing to the left, with the 
left middle finger, the crossed strings which separate the "body" from the "tail" 
and then again extending the figure. 

The only difficulty likely to be encountered in forming this very pretty figure 
is in the Eighth movement ; if necessary, however, the left middle finger can be used 




Fig. 217 



to draw the hanging near index string away from you under the two lower strings of 
the figure, and into a position from which it can be easily picked up on the back of 
the thumb. 



A RATTLESNAKE AND A BOY 



IOI 



A RATTLESNAKE AND A BOY 



VJk 



This is a Klamath Indian game obtained for me by Mr. John L. Cox, at 
Hampton, Virginia, from Emma Jackson of Oregon. 

First: Opening A. 

Second : Transfer the little finger loops to the index fingers, by putting each 





Fig. 219. 



index from above down into the little finger loop, and picking up, from below 
(Fig. 218), the far little finger string, and withdrawing the little finger. You now 
have two loops on each index and a loop on each thumb (Fig. 219). 



102 



STRING FIGURES 



Third : Pass the middle, ring and little fingers of each hand toward you over 
both strings of the lower index loop, and pull them down by closing these fingers 
on the palm (Fig. 220). 

Fourth: Pass each middle finger from below into the thumb loop (Fig. 221); 
straighten the finger, put it from below into the upper index loop (Fig. 222) and 




Fig. 220 




Fig. 221 




Fig. 222. 



A RATTLESNAKE AND A BOY 



103 



pull down on the ball of the finger the upper near index string, and draw it through 
the thumb loop (Fig. 223), then away from you past the lower index loop (held to 
the palm by the ring and little fingers). Release the loops from the ring and little 




Fig. 225 



fingers (Fig. 224), and insert these fingers into the middle finger loop beside the 
middle finger (Fig. 225). 



io4 



STRING FIGURES 



Fifth : Withdraw the middle finger, and pass it toward you through the upper 
index loop and under the near thumb string; then, keeping the strings tight, bend 
the index down on the near thumb string (Fig. 226), and draw this string away 




Fig. 228. 



from you (holding it between the index and middle fingers) through the index loop, 
and put it on the tip of the index by turning the palm away from you. Release 
the loops from the thumbs (Fig. 227). 

Sixth : Pick up with the back of both thumbs (held close together) the two 



A RATTLESNAKE AND A BOY 



io5 




Fig. 231. 



lower index strings just where they cross at the bottom of the figure (Fig. 228) and 
draw these strings out by separating the hands. You now have two straight near 
thumb strings (Fig. 229). 

Seventh: Put each thumb against the index, to hold in place the upper near 
index string (Fig. 230), and then throw the two near thumb strings over the tip of 
the index, and let them fail on the far side. Separate the hands (Fig. 231). 



io6 



STRING FIGURES 



Eighth : Transfer the upper index loop to the thumb, by putting the thumb 
from below into it, and withdrawing the index from both its loops (Fig. 232). 

Ninth : Put the index toward you, that is from above, into the thumb loop and 
take the loop off the thumb. 

Tenth : Pass each thumb away from you through the corresponding side lozenge 
below the two straight transverse strings, pick these strings up on the back of the 




Fig. 232. 



thumb (Fig. 233) and return the thumb to its position. Release the loops held 
down by the ring and little fingers and draw the strings tight (Fig. 234). 

Eleventh : Pass the ring and little fingers toward you (from' below) into the 




Fig. 233. 



two thumb loops and bending the fingers over the two near strings, draw the loops 
down on the palm and withdraw the thumb (Fig. 235). 

Twelfth : Put each thumb away from you into the loops held to the palm by 
the ring and middle fingers, and, drawing the single upper string of these loops toward 
the palm (Fig. 236, Left hand) with the back of the thumb pick up from the palmar 



A RATTLESNAKE AND A BOY 



107 




Fig. 234 




Fig. 235 




Fig. 236. 



io8 



STRING FIGURES 



side, the string which runs down from the index to the little finger (Fig. 236, 
Right hand). Withdraw the ring and little fingers (Fig. 237). 

Thirteenth : Bring the hands close together with the index finger and thumb 
of the one hand pointing toward the index finger and thumb of the other hand; 




Fig. 237. 



then hang the right index loop on the left index and the right thumb loop on the 
left thumb (Fig. 238). Take up with the right index from the right side the loop 
which you have just put on the left thumb, and take up with the right thumb, from 
the left side, the loop which was originally on the left thumb (Fig. 239) ; then with 

the right thumb and index lift both loops from the left 
index, and put the left index toward you into the loop 
just hung on the left index, and put the left thumb 
away from you into the loop originally on the left thumb 
(Fig. 240). Extend the figure on the thumbs and index 
fingers (Fig. 241). The "rattlesnake" is at the left side 
of the figure, the "boy" at the right side. The snake 
can be made to run up and "bite the boy" by releasing 
the loop from the left thumb and pulling on the left index 
loop, at the same time quickly and alternately separat- 
ing and bringing together the right thumb and index 
(Fig. 242). 

This game is the first of a series of four closely related 
Klamath games. The Second and Seventh movements 
are peculiar to these figures, that is, as far as now known; as we discover more 
figures they will probably occur again. The Thirteenth movement is very much 
like a movement in the Navaho "Butterfly." 




Fig. 238. 



A RATTLESNAKE AND A BOY 



109 





Fig. 239. 



Fig. 240. 




Fig. 242. 



no 



STRING FIGURES 



TWO SKUNKS 

Mr. John L. Cox was taught the " Two Skunks " by the Klamath girl, Emma 
Jackson. 

First : The first nine movements are the same as the first nine movements of 
the "Rattlesnake and a Boy." 

Tenth : Pass the thumbs away from you under the figure and then up on the 
near side of the two straight transverse strings (Fig. 243), and pull these strings down 




on the ball of each thumb and then up toward you on the back of the thumbs 
(Fig. 244). 

Eleventh : Pass each index (with its loop well up at the tip of the finger) from 
below, into the thumb loop (Fig. 245); withdraw the thumb and pick up from 




below on the back of the thumb the original index loop (Fig. 246) and withdraw 
the index from all the loops. Now transfer the thumb loop back to the index by 



TWO SKUNKS 



in 



putting the index into the loop from below and withdrawing the thumb and 
straightening the index (Fig. 247). 

You now have on each hand a loop on the index and a loop held down by the 
little and ring fingers. The figure consists of an upper straight string, a lower 




Fig. 246 




straight string and two middle straight strings, also two diagonal strings on each 
side, which come from a twist around the little finger loop and pass obliquely to 



112 



STRING FIGURES 



the upper string of the figure. The lower diagonal runs downward and passes 
under the lower straight string before it runs up to the upper straight string. 

Twelfth : Pick up from below on the back of each thumb the lower diagonal 
close to the twist around the little finger loop and before it passes under the lower 




Fig. 248 



straight string (Fig. 248) and, holding the thumb against the index to keep in posi- 
tion the near index string, pass the index and the index loop (Fig. 249) from above 
into the thumb loop and withdrawing the thumb (Fig. 250) pick up from below on 
its back the index loop, thus drawing it through the thumb loop. Withdraw the 




Fig. 249 



index and put it from below into the thumb loop, withdraw the thumb, and 
straighten the index (Fig. 251). 

Thirteenth : Repeat the Twelfth movement, and draw the hands apart to extend 
the figure (Fig. 252). 

The last four movements of this figure are all novel methods. In the Twelfth 
and Thirteenth, it is necessary to observe care in order to get the proper diagonals 
and pick them up in the right places. 



TWO SKUNKS 



"3 




Fig. 250 





Fig. 252 



H4 



STRING FIGURES 



TWO FOXES 

This is another Klamath figure, secured in the same way as the two preceding 
games. 

The first nine movements are the same as the first nine movements of the 
" Rattlesnake and a Boy." 





Fig. 253. 



Tenth : The same as the Twelfth movement of the " Two Skunks." The figure 
is then extended by drawing the hands apart (Fig. 253). 



¥ 



TWO SQUIRRELS 



* 



This is the last of the " Rattlesnake " series of Klamath figures, obtained by 
Mr. John L. Cox, from Emma Jackson of Oregon. 

First : Hold the string between the tips of the thumb and index of each hand, 
so that a short piece passes between the hands and a long loop hangs down. Make 
a small ring, hanging down in the short string, putting the right hand string away 
from you over the left hand string. Put both thumbs away from you through the 
small loop and both little fingers away from you through the long hanging loop 
(Fig. 254), and separate the hands (Fig. 255). 

Second: Now go through all the movements of the "Two Foxes" including 
Opening A, to the very end. Remember that you have two near thumb strings; 
these must be considered throughout as one string (Fig. 256). 



TWO SQUIRRELS 



"5 



The heads of the " Squirrels " are directed toward the hands ; the tails are the 
loops on the index fingers. The pattern should be held vertically. 




Fig. 254. 




Fig. 255 




Fig. 256. 



n6 



STRING FIGURES 



To hang up the " Squirrels," pick up on each thumb the straight string crossing 
the figure (Fig. 257). Release the index loops and separate the hands (Fig. 258). 




The opening movements are interesting modifications of Opening A, and occur, 
so far as I know, in no other figure. 

THE LEASHING OF LOCHIEL'S DOGS 






This game is well known in Scotland, Ireland, and England. It has been 
described by the Rev. John Gray (p. 118, Fig. 4) from the Island of Eriskay, Outer 
Hebrides ; it is also called "Tying Dogs' Feet." In some parts of Ireland, it is 
known as "Duck's Feet." It is the same as the Cherokee Indian "Crow's Feet." 
(See Haddon, 5, p. 217.) Dr. W. H. Furness has found it among the Kabyles of 
Algeria, introduced from France under the name of "Cock's Feet." It is known 
to the Ulungu of Africa as Vmuzwa—z. Wooden Spoon. Roth gives a similar pat- 
tern from Australia (pi. xii, 1). It closely resembles the "Two Hogans" of the 
Navaho Indians, just before the completion of that figure. 



THE LEASHING OF LOCHIEL'S DOGS 



117 



First : Opening A. 

Second : Turn the palms toward you, draw the strings tight and close the four 
fingers over all the strings except the near thumb string (Fig. 259, Left hand); 




Fig. 259. 





Fig. 261. 



turn each hand down and then up toward you (Fig. 259, Right hand) under the 
near thumb string, to put this string around the four fingers (Fig. 260). 

Third : With the thumb and index of the right hand lift the loop from the left 
index and place it on the left thumb (Fig. 261). With the thumb and index of the 



n8 



STRING FIGURES 



left hand lift the loop from the right index and place it on the right thumb. This 
movement can also be made by putting each thumb from below into the index loop 
and withdrawing the index. 

Fourth : With the thumb and index of the right hand pick up the string on 
the back of the left hand, and put the loop on the left middle finger only (Fig. 262). 

With the thumb and index of the left hand pick 
up the string on the back of the right hand, and 
put the loop on the right middle finger only. 
Separate the hands. 

Fifth : Turning the palms slightly toward 

you, bend each little finger down over the far 

middle finger string, and take up from below on 

the back of the finger the near little finger string 

(Fig. 263), and return the little finger to its 

former position, being careful not to allow the 

far little finger string to slip off the little finger. 

After this movement you have on each hand a 

loop on the thumb and a loop on the middle 

finger, and two far little finger strings forming 

a loop around the far middle finger string between 

the little finger and the ring finger (Fig. 264). 

Sixth : With the thumb and index of the 

right hand pick up the lower left far little finger string (the one which runs 

straight across to the right little finger), and, drawing it over the tip of the left 

little finger, let it fall on the palmar side (Fig. 265), being careful not to disturb 




Fig. 262. 




the upper far little finger string (the one that crosses over to the far side of the 
right thumb). With the thumb and index of the left hand, in the same way pick 
up the lower right far little finger string, lift it over the tip of the right little finger, 
and drop it on the palmar side. Separate the hands (Fig. 266). 



THE LEASHING OF LOCHIEL'S DOGS 



119 




Fig. 264 




Fig. 265. 




Fig. 266 



This movement may also be made by bending each little finger down over the 
upper far little finger string, and picking up from below on the back of the finger the 
lower far string, which will slip to the palmar side as the little finger is straightened. 



i2o STRING FIGURES 

Seventh : Release the loops from the thumbs and separate the hands, when it 
will be observed that the middle and little fingers of each hand, "the dogs," are 
leashed by loops to two central straight strings (Fig. 267). 

The transfer of a loop from a finger to the wrist, or around the backs of the 
four fingers, of the same hand is quite a common movement in string figures. In 
the "Apache Door" we saw a very simple method of changing a finger loop to the 
wrist, and now, in the second movement of this figure, we have a neat method of 
putting the thumb loop on the back of the four fingers. A similar movement occurs 
in the Caroline Islands "Coral" and in the Navaho "Man." 

On examining more closely the "Leashing of Lochiel's Dogs," one cannot 
fail to be struck by the rather crude way in which many of the movements are 
carried out ; except in the Fifth movement, there appears to be lacking that expert 
use of both hands at the same time which characterizes the figures made by savage 





Fig. 267. 

races. It is interesting to observe that Dr. Haddon's description of the Cherokee 
"Crow's Feet" differs from our description of the British figure; his description, in 
my own words, is as follows: 

First : Opening A; but the palmar strings are taken up with the middle fingers 
instead of with the index fingers. 

Second : Close together the four fingers of each hand, and insert them from 
above into the thumb loop, then take this loop off the thumb ; thus turning it over 
in the transfer. Separate the hands. 

Third : Pass each thumb into the middle finger loop from below, then with- 
draw the middle finger and return the thumb to its position, thereby transferring 
the middle finger loop to the thumb. 

Fourth : Transfer the loop on the back of each hand to its respective middle 
finger. 

Fifth : Pass each near little finger string from below through the middle finger 
loop and replace it on the far side of the little finger. 

Sixth : Transfer each far little finger string over the little finger to the near side 
of that finger. 



TWO HOGANS 



121 



Seventh : Release the loops from the thumbs and draw the strings tight. 
"Crow's Feet" was taught to Dr. Haddon by a Pullman porter of European, negro 
and Cherokee parentage, which may account for the absence of what, for lack of a 
better term, we may call "savage characters." 

From the figure shown to Mr. John L. Cox by an Onondaga Indian, Charles 
Doxon, we know that " Crow's Feet " is done by the Indians in the typical Indian 
way. This method differs from "The Leashing of Lochiel's Dogs" only in the 
Third and Fourth movements : 

Third : Insert each thumb from above into the index loop, and pick up from 
below the far index string; return the thumb to its position, and withdraw the index. 

Fourth : Turning the hands toward you and closing the fingers on the palms, 
let the far wrist string slip toward you along the fist until it comes to the index 
finger, when the whole wrist loop can be readily transferred to the middle finger. 




TWO HOGANS 



Hogan is the Navaho name for a tent ; two tents are Naki-hogan or Atl-sa-hogan. 
This game was taught to Dr. Haddon, in iqoi, by the two old Navahos in Chicago. 
(Haddon, 5, p. 221, pi. xv, Fig. 1.) An example of the finished pattern is preserved 




Fig. 268. 



in the Philadelphia Free Museum of Science and Arts; No. 22723, collected by 
Mr. Culin, from the Navahos at St. Michael's Mission, Arizona. 

First : Opening A. 

Second : With the mouth, take up, from the centre of the figure, the four crossed 
strings, and draw them toward you and hold them firmly (Fig. 268). 

Third : Release the loops from the thumbs and index fingers, and let them 
hang down ; the index loops form two short hanging loops, the thumb loops form 
one long hanging loop. 



122 



STRING FIGURES 



Fourth : Put each hand up from below completely through the loops held by 
the little finger (Fig. 269) ; bend the hands down away from you, with the palms 
facing each other and the fingers pointing downward, and pick up from the near side 

with the backs of both little fingers 
the long hanging loop, drawing it out 
away from you under and past the 
far wrist string. Turn the hands with 
the fingers pointing upward (Fig. 270). 
You now have a lower loop held 
by the mouth and passing around both 
wrists to become the lower far string 
of the figure; and a triangle produced 
by a string on each side passing from 
the mouth and running between the 
ring and little finger to become the 
upper far string of the figure. The 
original index loops hang down from 
the mouth. 

Fifth : Still holding the strings in 
the mouth, and keeping the loops se- 
curely on the little fingers, turn the palms slightly toward you, and, bending each 
little finger down over the near little finger string, pick up from below on the 




Fig. 269. 




Fig. 270. 



Fig. 271. 



back of the finger the diagonal string running from the mouth to the little finger, 
and return the little finger to its usual position, drawing the diagonal string upward 
and outward through the little finger loop (Fig. 271). 



TWO HOGANS 123 

Sixth : Release the strings held by the mouth and separate the hands (Fig. 
272). 

Seventh : Take up with the mouth the middle of the two strings passing between 
the knots in the figure, and turn the hands with their palms up and the fingers 




Fig. 272 



directed away from you; in this way a hogan, or tent, is formed on each hand by 
the wrist and little finger loops (Fig. 273). 

"Two Hogans" is interesting because the loops are held by the teeth almost 
throughout the entire figure. It is not unusual for one or more loops to be taken up 
by the teeth, but, as a rule, it is done merely through one or two movements, in order 




to bring the strings into a position from which they can be conveniently taken up 
by the fingers. The figure produced by the Sixth movement is similar to the finished 
figure of the "Leashing of Lochiel's Dogs"; the loops, however, being held on the 
wrists and little fingers instead of on the middle fingers and little fingers. 



124 






STRING FIGURES 



A CARIBOO 



The " Cariboo " is described and the finished pattern is illustrated by Dr. F. 
Boas (i, p. 229, Fig. 1, 3, p. 570, Fig. 525a). It is described, but not figured, by 
Dr. Haddon (5, p. 216). 

It is given by Dr. Boas as coming from the Eskimos of Cumberland Sound, 
Baffin Land, where it is known as Tuktuqdjung = a Cariboo. 




First : Opening A. (The left palmar string must be taken up first.) 
Second : Bend the right index away from you over the right far index string and 
over both strings of the right little finger loop and down on the far side of the right far 




Fig. 275 



little finger string (Fig. 274); then draw toward you on the near side of the right 
index both right little finger strings and the right far index string, allowing the right 



A CARIBOO 



125 



near index string to slip over the knuckle of the index and to the far side of the finger. 
Now put the right index (still bent and holding the strings on its near side) from 
below into the thumb loop, by pressing the near side of the bent index toward you 
against the right far thumb string, and putting the tip down toward you over and 
on the near side of the right near thumb string (Fig. 275). Pick up, on the far side 




Fig. 276. 



of the bent right index, this right near thumb string, and lift it and the former near 
index string up by turning the index away from you and up to its usual position 
(Fig. 276). 

Third: Release the loop from the right thumb (Fig. 277). 

Fourth : Give the loops on the right index a twist by rotating the index 




away from you, down on the near side of the little finger loop and then up toward 
you. 

Fifth : Put the right thumb from below into the two loops on the right index, 
and draw the thumb away from the index in order to enlarge the loops. 



126 



STRING FIGURES 



Sixth : With the left thumb and index 
take the loop from the left index, and 
pass it from above and away from you 
through the two loops passing around the 
right thumb and index (Fig. 278), without 
twisting the loop or touching the right little 
finger loop, and put it back on the left index 
(Fig. 279). 

Seventh : Release the loop from the left 
thumb, and release the loops passing around 
the right thumb and index, and draw the 
hands apart; putting the left thumb into 

the left little finger loop, withdrawing the little finger, and putting the right thumb 

and index into the right little finger loop, withdrawing the right little finger. 

Extend the figure between the widely separated thumbs and index fingers (Fig. 280). 
The finished figure is curious and unsymmetrical, and bears some resemblance 

to a cariboo with the head and horns directed to the left. The Second and Third 

movements are peculiar to this figure. 




Fig. 278. 




Fig. 280. 



THE CIRCLE 



127 



THE CIRCLE 

Dr. Boas has described and illustrated (1, p. 230, Fig. 5) a game known to 
the Eskimos of Cumberland Sound, Baffin Land, as Ussuqdjung. I have called 
it the "Circle." 

First : Put the loop on the hands in the First Position. 

Second : Pass the right index, middle, ring and little fingers from below, behind 
the left palmar string, and draw the loop out. Pass the left index, middle, ring and 




Fig. 281 



little fingers, from below, behind the right palmar strings; draw the loop out and 
separate the hands. This movement, which is like Opening A, puts each palmar 
string on the back of the opposite hand (Fig. 281). 

Third : Release the loops from the thumbs and separate the hands. 




Fourth : Bend each thumb over the string which passes between the hands 
and then between the thumb and index of each hand, and pick up from below, on 
the back of the thumb, the near little finger string (Fig. 282), and return the thumb 
to its position. 



128 



STRING FIGURES 



Fifth : Pick up the palmar strings with the index fingers as in Opening A 
(Fig. 283). 

Sixth : With the thumb and index of the right hand pick up the string on the 
back of the left hand, lift it over the tips of the left fingers, and let it drop on the 




Fig. 283 



palmar side. With the thumb and index of the left hand pick up the string on the 
back of the right hand, lift it over the tips of the right fingers, and let it drop on the 
palmar side. 

Seventh : Draw the hands apart and the central circle will appear (Fig. 284). 




This is not an interesting figure, and appears more like a figure in process of 
development than one worked out to the end. The Second movement is the direct 
way of putting the loop on the backs of the four fingers. 



TWO STARS 



129 



TWO STARS 

I learned this figure at the St. Louis Exposition, in November, 1904, from the 
two Navaho girls, from Gallup, New Mexico, who taught me the other Navaho 
figures. 

First : Opening A. 

Second : Transfer the index loops to the thumbs, by putting each thumb from 
below into the index loop, with- 
drawing the index, and return- 
ing the thumb to its position. 

Third : Transfer the little 
finger loops to the thumbs, by 
bending each thumb away from 
you over the far thumb strings, 
and taking up from below on 
the back of the thumb the near 
little finger string; and then 
withdrawing the little finger, 
return the thumb to its position. 

You now have three loops 
on each thumb (Fig. 285). Keep 

them well separated on the thumb : the original loop down at the base, the loop taken 
from the index half-way up, and the loop taken from the little finger near the tip. 




Fig. 285. 




Fig. 286 



Fourth : Put each ring finger from below through the two lower thumb loops, 
and, pushing the two lower far strings away from you with the back of this finger 
(Fig. 286), bend the ring finger toward you over the upper far thumb string (the 



130 STRING FIGURES 

far string which passes directly from thumb to thumb), draw it down, and hold 
it by closing the ring and little fingers over it on the palm (Fig. 287). 

Fifth : Turn the hands so that the thumbs, index fingers and middle fingers 
point away from you; then bending the index and middle finger pass the middle 




finger toward you through the thumb loops, and pass the index toward you into 
the two upper thumb loops and then between the two upper near thumb strings 
and the lower near thumb string (the near string which passes directly from thumb 




to thumb) (Fig. 288). Now, holding this lower near thumb string between the 
index and middle finger, draw these fingers away from you, and, by turning the 
index down and then away from you, take the string up on the tip of the finger. 




CASTING THE FISH-SPEAR 



131 



Sixth: Release the loops from the thumbs, and, turning the palms away from 
you, extend the figure between the index fingers and the ring and little fingers 
closed on the palm (Fig. 289). 

So far as I know, this figure is the only one in which, after Opening A, three 
loops are arranged on both thumbs. 



CASTING THE FISH-SPEAR 

Dr. Haddon has given me this unpublished Torres Straits figure. 

First : Opening A. (The left palmar string must be taken up first.) 
Second: Exchange the index loops so that they will catch, by bringing the 
hands together (with the fingers pointed toward one another) and putting with the 
left index the left index loop on the right index over the right index loop, and 
down to the base of 
the finger; then lift 
off with the left in- 
dex the original right 
index loop, and sep- 
arate the hands. In 
this way the right in- 
dex loop is drawn 
through the left in- 
dex loop (Fig. 290). 
Third: Release 
the loop from the 
right index. You 

now have a loop on each thumb and little finger and a loop on the left index; the 
loops on the left hand form the fish-spear, which is brought out more plainly by 
closing all the fingers of the right hand down on the palm, and letting the strings 

of the little finger loop come out between the index 
and middle finger (Fig. 291). 




Fig. 290. 




Fig. 291 



132 



STRING FIGURES 



Fourth : The spear is "cast" from the left hand to the right hand, by putting 
the right index down between the right far thumb string and the right near little 




Fig. 292. 



finger string, and then from below into the left index loop (Fig. 292), and drawing 
the loop joining the left hand loops out to the right on the back of the right index. 




Fig. 293. 



Then release the loop from the left index and close the fingers of the left hand down 
on the palm (Fig. 293). 

The only point of interest in this figure is the fact that the finished pattern is 
formed first on one hand, and then may be transferred to the other hand. 

The Second movement occurs again only in the next two figures. 



AN ARROW 
AN ARROW 



W 



This very pretty figure was shown to me by the two girls from whom I learned 
the other Navaho figures, at the St. Louis Exposition, in November, 1904. The 
native name is Ka = an Arrow. 

First : Opening A. (The left palmar string must be taken up first.) 
Second : The same as the Second movement of " Casting the Fish-Spear." 




Fig. 294. 



Third : Pass the right thumb away from you over the right far thumb string 
and under all the other strings, and, as you begin to return the thumb, catch on its 




Fig. 295 



back the right far little finger string, and draw it back under the right near little 
finger string and the strings of the right index loop (Fig. 294, Right hand). 

Fourth : With the teeth pick up from the right thumb this right far little finger 
string, which you have just drawn toward you, remove the right thumb (Fig. 295), 



134 



STRING FIGURES 



and moving the hands away from you, release the loops from the little fingers and 
draw the strings tight. 

You now have a loop on each thumb and a loop on the left index. The loop 
held by the teeth makes one twist near the mouth, and then the right string passes to 
the far side of the right index, around that finger and to the centre of the figure, 




while the left string goes at once to the centre of the figure and then to the far side 
of the left index, to form the left index loop. 

Fifth : Turn the hands with the palms toward you and close the middle, ring 
and little fingers of the left hand down on the palm, over the thumb and index loops ; 
and close the middle, ring and little fingers of the right hand down on the palm, 
over the near index string and the thumb loop (Fig. 296). Now put the tip of the 
right thumb against the tip of the right index, and the tip of the left thumb against 
the tip of the left index, and turning the hands with the knuckles toward one another, 




Fig. 297. 



and the palms down, put the thumb and index (still held together) of each hand 
down between the two strings of the loop held by the mouth, below (to the far side 
of) the twist in the loop (Fig. 297). The middle, ring and little fingers must be 
kept closed on the palms throughout the following movement. 

By lifting the elbows and bending the hands down at the wrists, direct the thumb 



AN ARROW 



i35 



and index (still held together) of the right hand toward the right, under the right 
string of the loop held by the teeth; and direct the thumb and index (still held to- 
gether) of the left hand toward the left, under the left string of the loop held by 




the teeth. Now, if both hands be moved up toward the chin and turned at the wrist 
toward you and upward, while you drop your elbows, each string of the loop can be 
caught around the thumb and index of the hand of the same side, and when the hands 
are put in the usual position each string will pass from the teeth to the far side of the 
index finger, between the index and middle fingers to the back of the hand, and 




then toward you across the backs of the thumb and index, around the thumb to the 
palm, and again between the index and middle fingers (Fig. 298). 

Sixth: Release the loop held by the teeth; separate the hands, and draw the 
strings tight (Fig. 299). 

You now have on each hand : A single lower loop on the thumb, a single lower 
loop on the index, and an upper loop which passes around both thumb and index. 

Seventh : With the thumb and index (or with the teeth) lift the lower loop 
off the thumb, and lift the lower loop off the index of each hand in turn, passing the 



136 



STRING FIGURES 



loop over the loop which goes around both thumb and index, but permitting that 
loop to remain around these fingers. The single loops which you have slipped from 
each thumb and each index are now looped around the string passing from the 
back of the thumb to the back of the index (Fig. 300). One of the four strings 




of these loops, the upper near one, passes straight across the figure and above the 
other three strings. 

Eighth : Put the middle finger of each hand from below between the strings 
forming the thumb loop, and then on the far side of this upper straight near string 
passing directly across the figure, and bending the middle finger toward you over this 
string (Fig. 301), pull it down; then release the loop from each thumb and draw the 




strings tight. The figure is extended between the index fingers and the middle 
fingers closed on the palms (Fig. 302). 

The head of the " Arrow" is near the left hand ; the feathered end near the right 
hand. By pushing together with the thumb the loops forming the point of the 
"Arrow," the head can be rendered very distinct; in the same way the feathered 
end can be made perfectly symmetrical. 

The "Arrow" begins, practically, with an unsymmetrical movement, and 
although the subsequent movements are done with both hands the figure does not 



A PORCUPINE 



J 37 



again become entirely symmetrical. The First and Second movements are similar 
to the same movements in " Casting the Fish-Spear." The object of the Third, 




Fig. 302. 




Fourth and Fifth movements is to wrap the far index strings (which usually form 
the little finger loops) around both the index and thumb. The Seventh and 
Eighth movements are characteristic Navaho movements. 



A PORCUPINE 



The "Porcupine" is a Klamath Indian game obtained by Mr. John L. Cox, 
at Hampton, Virginia, from Emma Jackson, of Oregon. 

First : Opening A. (The left palmar string must be taken up first.) 
Second : The same as the Second movement of " Casting the Fish- Spear." 
With the right thumb and index pull in turn the left near thumb string and the left 




far little finger to the right, in order to bring central crossings of the strings near the 
left hand (Fig. 303). 



138 



STRING FIGURES 



Third : Transfer the left index loop to the left thumb, by putting the thumb 
from below into the index loop, withdrawing the index, and returning the thumb 
to its position. 

Fourth : Transfer the left little finger loop to the left thumb, by bending the 
thumb away from you over the far thumb strings and taking up from below on the 




back of the thumb the near little finger string; then withdrawing the little finger, 
return the left thumb to its position. Keep the three loops on the right thumb well 
separated (Fig. 304). 

Fifth : Put the left ring finger from below through the two lower loops on the 
left thumb, and, pushing the two lower far strings away from you with the back of 
the finger (Fig. 305), bend the ring finger toward you over the upper far thumb 
string (the far string which passes directly from the left thumb to the right little 




finger) and draw it down and hold it by closing the ring finger over it on the palm 
(Fig. 306). 

Sixth : Turn the left hand so that the thumb, index and middle fingers point 
away from you; then bending the left index and middle fingers, pass the middle 
finger toward you through all the left thumb loops and pass the left index toward 
you into the two upper left thumb loops and then between the two upper near thumb 



A PORCUPINE 



139 



strings and the lower near thumb string (the near string which passes directly from 
thumb to thumb) (Fig. 307). Now, holding this lower near thumb string between 




the index and middle finger, draw these fingers away from you, and by turning the 
index down and then away from you take the string up on the tip of that finger. 
Release the left thumb (Fig. 308). 



140 



STRING FIGURES 



Seventh : Put the left thumb under the two right lower strings of the lozenge 
now formed near the left hand (Fig. 309) and pick them up on the back of the thumb. 
Return the thumb to its position (Fig. 310). 

Eighth : Put the left index finger with its loop from above through the left 
thumb loops, withdraw ..the thumb and straighten the finger (Fig. 311); transfer 




A PORCUPINE 



141 



the original left index loop to the thumb by picking up from below the near index 
string and withdrawing the index from all its loops (Fig. 312). Transfer the left 




thumb loop to the index, by pulling the index into it from below and withdrawing the 
thumb. 

Ninth : Release the loops from the right thumb and little finger and draw the 
hands apart and the porcupine is formed near the left hand (Fig. 313). 

This is a very easy figure because the Third, Fourth, Fifth and Sixth move- 




Fro. 313. 




ments are the same as tne Second, Third, Fourth and Fifth movements of the 
"Two Stars," but carried out on the left hand only. The Seventh and Eighth 
movements are new ones. 

The " Porcupine" appears to be really an Eskimo figure, and one very widely 
distributed; it is found in Alaska under the name of "Wolf" or "Wolverine" 
(p. 361), and, as a "Fox," is one of the six patterns from Smith Sound given by 
A. L. Kroeber in the Bulletin of the American Museum of Natural History, XII, 
1899, p. 298. 



CHAPTER V 



FIGURES BEGINNING WITH OPENING A (CONTINUED) — A CAROLINE ISLANDS CATCH — CIRCLES AND TRIANGLES 
— TEN MEN — A VARIATION OF TEN MEN — CAROLINE ISLANDS TRIANGLES — CARRYING MONEY — HOUSE 
OF THE BLOS-BIRD — THREE STARS — NO NAME — CORAL — A MAN — TWO CHIEFS — A MAN AND A BED 
— A PALM TREE — A CANOE WITH TWO MASTS — A HOUSE — FIGURES BEGINNING WITH A MODIFICATION 
OF OPENING A — W — M. 



A CAROLINE ISLANDS CATCH 

THIS catch was shown to Dr. W. H. Furness in 1902 by a Natik woman, 
"Emily," who was returning to the Caroline Islands, on the steamer 
Oceana, from Australia, where she had gone from Ponape as a nurse 
in an English family. Natik (or Ngatik) is a small island south of Ponape, with a 
population of about one hundred and fifty. It has twice been swept by tidal waves 
and almost all of the inhabitants killed. The natives speak a strange dialect 

of Ponape intermingled with English 
words. They are chiefly the descend- 
ants of an African negro from a whaling 
vessel and a native woman from Ponape. 

First : Opening A. (Taking up the 
right palmar string first.) 

Second : Take the left hand out of 
all the loops, and let them hang straight 
down from the right hand held palm 
down with the fingers pointing to the left. 
Third: Put the tips of the left 
thumb and little finger together and in- 
sert them from the left side into the right 
index loop (Fig. 314); then separate the 
left thumb and little finger, and, taking 
the loop off the right index, draw the 
hands apart (Fig. 315). This movement arranges the string on the left hand in 
the "First Position," and on the right hand puts a twisted loop on the thumb, a 
twisted loop on the little finger and a string across the palm. 

Fourth : With the left index take up from below (as in Opening A) the string on 
the right palm (Fig. 316) and separate the hands (Fig. 317). 

142 




Fig. 314. 



A CAROLINE ISLANDS CATCH 



143 




Fig. 315. 




Fig. 316. 




Fig. 317 



144 



STRING FIGURES 



Fifth : Bend the left thumb away from you over the left near index string, and 
take up from below on the back of the thumb the left far index string (Fig. 318, 
Left hand), and return the thumb to its former position. 

Sixth : Bend the right thumb away from you over the right far thumb string, 
and take up from below on the back of the thumb the right near little finger string 
(Fig. 318, Right hand), and return the thumb to its position. 

Seventh : Bend the left index down, and pick up from below on the back of its 
tip the left near index string (Fig. 319, Left hand) and return the index to its position. 




Eighth : Bend the right index down, and pick up from below on the back of its 
tip the right far thumb string (not the string passing across the palm) (Fig. 319, 
Right hand), and return the index to its position. 

Ninth : Keep the strings on the index fingers well up at the tips by pressing 
the thumb against the index, and bend each little finger over the far little finger string 
and all three fingers down on the palm to hold down the little finger string (Fig. 
320). Then with the teeth pull the lower left thumb loop (the one whose far string 




crosses the palm) up over the left upper thumb loop, over the tip of the thumb, 
and let it drop on the palmar side. In the same way with the teeth pull the right 
lower thumb loop off the right thumb. In each case be careful not to disturb the 
upper thumb loop (Fig. 321). 

Tenth : Release the loops from the little fingers, and extend the figure between 



A CAROLINE ISLANDS CATCH 



i45 



the thumbs and the tips of the index fingers. It is not absolutely necessary to turn 
the palms away from you (Fig. 322). If the figure fails to appear after this last 




Fig. 320 




Fig. 321. 




movement, it is because the right thumb loops have become disarranged; it is 
essential that the right far thumb string form a cross between the right thumb and 
index. 



146 



STRING FIGURES 



If a second person put his hand through the middle diamond of the figure, his 
wrist will be caught in a loop if the strings be dropped from the left hand, and the 
right hand strings pulled to the right. His wrist will not be caught if the strings be 
dropped from the right hand and the left hand strings pulled to the left. 

This figure is closely related to the Torres Straits catch, the "King Fish." 
The result produced by the first four movements of the " King Fish " differs from the 
result of the first four movements of this catch merely in the twist in the left index 
loop. The opening movements of this figure are very neat, and, so far as I know, 
are not found in any other string figure. Of course the same result can be obtained, 
if after Opening A you release the right index loop and give the right thumb and 
index loops a single twist. 

All these catches, whether of wrist or finger, as well as the tricks in which the 
string is unexpectedly drawn from the hand or neck, possess a great attraction to 
all natives; it is truly delightful to witness their pleasure when they are successful, 
and their gratification at the observer's astonishment which it will amply repay him 
to make very evident. 



CIRCLES AND TRIANGLES 

Dr. Furness obtained this figure from the same woman who taught him the 
preceding catch. The native name is Bur-bur-ani jau, which has some reference 




to a dog. I have called it "Circles and Triangles" until the translation of the 
native name can be made. 

First : Opening A. 

Second : Pass each thumb away from you over the far thumb string and the 
index loop, and pick up from below on the back of the thumb both strings of the 
little finger loop (Fig. 323, Left hand), and return the thumb to its position (Fig. 
323, Right hand). 

Third : Bend each index finger well down into the original thumb loop, the 
strings of which pass toward the centre of the figure, and move the index away 



CIRCLES AND TRIANGLES 



i47 



from you (Fig. 324), by turning the palm away from you, and then straighten the 
index, which thus takes upon its back both strings of the index loop and also the 
far thumb string (Fig. 325). Slip the thumbs from their loops, and turn the hands 




Fig. 324 




with the palms facing each other (Fig. 326). You now have a loop on each little 
finger with its strings passing across the palm to the index; and on each index there 



148 STRING FIGURES 

are three near strings ; an upper far string passing from side to side, and two strings 
which may be called lower far index strings; together they come through a tight 
loop around the base of the index. 

Fourth : Pass each thumb away from you over these two far index strings and 
under all the other strings, and with the tip of the middle finger press down the 




upper straight far index string until it is over the back of the thumb, then catch it 
on the thumb and bring it back toward you as you return the thumb to its position 
(Fig. 327). 

Fifth : Turn each index down and away from you, and let the upper three near 
index strings slip over its tip; this leaves one loop on the index. Separate the hands 



Fig. 328. / 

(Fig. 328). There is now a loop on each thumb, a loop on each little finger and a 
loop on each index. 

Sixth : Transfer the thumb loops to the index fingers by putting each index 
from below into the thumb loop, and withdrawing the thumb and returning the 
index to its position (Fig. 329). 

Seventh : Put each thumb from below into the lower index loop, and with the 
tip of the middle finger press down the upper far index string until it is over the back 



CIRCLES AND TRIANGLES 



149 



of the thumb, when you can catch it on the thumb and draw it toward you (Fig. 330, 
Left hand) as you return the thumb to its position (Fig. 330, Right hand). 





Fig. 330 




Eighth : Withdraw the index fingers from their loops, turn the hands with 
the fingers pointing away from you, and extend the figure loosely (Fig. 331). If the 
strings be drawn tight the pattern cannot be seen. 



IS© 



STRING FIGURES 



This is a most interesting and novel figure. The First and Second movements 
are unlike anything occurring in other figures. In the Fourth and Seventh movement, 
the use of the middle finger to assist the thumb in catching the string is not a native 
practice; I have put it in to make these movements easier. The finished pattern 
differs from the usual finished pattern, because it runs down to form a twisted cord 
if the strings be pulled too tight; moreover it is not extended in the characteristic 
Caroline Islands fashion. 



TEN MEN 



xxxx 



This is another Natik, Caroline Islands, figure collected in the same way as 
the two preceding figures. Roth gives a drawing (pi. VI., Fig. 7) of an Australian 




Fig. 332. 



finished pattern called a "Turtle," which appears to be the same as the finished 
pattern of " Ten Men." I have reproduced the plate on page 379. 

First : Opening A. 

Second : With the teeth draw the far little finger string toward you over all the 
strings (Fig. 332), and bending the left index over the left string of the loop held 
by the teeth, pick up from below on the back of the finger the right string of the 
loop held by the teeth, and return the left index to its position. Bend the right index 
over to the left, and pick up from below the left string of the loop held by the teeth, 



TEN MEN 



151 



and return the right index to its position (Fig. 333). Now release the loop held by 
the teeth, separate the hands, and draw the strings tight (Fig. 334). 

You now have two loops on each index, a loop on each thumb, and a loop on 
each little finger. 

Third : Release the loops from the thumbs, and draw the hands apart. 




Fourth : Put each thumb away from you, under the index loops, and pick up 
on the back of the thumb the near little finger string, and return the thumb to its 
position (Fig. 335). 



152 



STRING FIGURES 



Fifth : Pass each thumb up over the lower near index string, and put it from 
below into the upper index loop, and draw the thumb away from the index in order 
to enlarge the loop now passing around both index and thumb (Fig. 336). 

Sixth : With the left thumb and index (or the teeth) pick up the right lower 
near thumb string close to the right thumb, and draw it over the tip of the thumb 




(Fig. 337), and let it drop on the palmar side; being careful not to disturb the upper 
thumb loop. In the same manner with the right thumb and index (or the teeth) 
pick up the left lower near thumb string close to the left thumb, draw it over the tip 





Fig. 337. 



Fig. 338. 



of the left thumb (Fig. 338), and let it drop on the palmar side. Separate the hands 

(Fig- 339)- 

Seventh : Withdraw each index from the loop which passes around both 
thumb and index and draw the strings tight (Fig. 340, Left hand). 

Eighth : Transfer the thumb loops to the index fingers by putting each index 
from below into the thumb loop (Fig. 340, Right hand) and withdrawing the thumb 
(Fig. 341). 



TEN MEN 



153 




Fig. 339. 




Fig. 340 




J 54 



STRING FIGURES 



Ninth : Put each thumb away from you under the index loops, and pick up on 
the back of the thumb the near little finger string, and return the thumb to its posi- 
tion (Fig. 342, Left hand). 

Tenth : Pass each thumb up over the lower near index string, and put it from 
below into the upper index loop, and draw the thumb away from the index (Fig. 




342, Right hand) in order to enlarge the loop now passing around both index and 
thumb (Fig. 343). 

Eleventh : With the left thumb and index (or the teeth) pick up the right lower 
near thumb string close to the right thumb, and draw it over the tip of the right 
thumb (Fig. 344), and let it drop on the palmar side, being careful not to disturb 
the upper thumb loop. In the same way with the right thumb and index (or the 
teeth) pick up the left lower near thumb string close to the left thumb, draw it over 




the tip of the left thumb (Fig. 345), and let it drop on the palmar side. Separate 
the hands (Fig. 346). 

Twelfth : Bend each middle finger over the upper far index string, and take up 
from below on the back of the finger the lower near index string (the one passing 
from index to index) (Fig. 347), and return the middle finger to its position. 



TEN MEN 



i55 





Fig. 344. 



Fig. 345. 




Fig. 346 




i56 



STRING FIGURES 



Thirteenth : Release the loops from the little fingers, and turn the palms away 
from you, and the figure is extended between the thumbs and the middle and index 
fingers held close together (Fig. 348). 

I have put "Ten Men" as the first of a series of five closely related Caroline 
Islands figures, which, after Opening A, begin by having additional index loops 




Fig. 348 



formed from the far little finger string. As the Ninth, Tenth and Eleventh move- 
ments are repetitions of the Fourth, Fifth and Sixth, the figure is more simple than 
at first sight it appears to be. 



A VARIATION OF "TEN MEN" 

Dr. Furness obtained this figure also from " Emily," the Natik woman. 

First, Second and Third movements are the same as the First, Second and Third 
of "Ten Men." 

Fourth : Pass each thumb away from you under the index loops, and pick up 
on the back of the thumb the near little finger string, and drawing the thumb toward 




you pick up also on its back the lower far index string and return the thumb to its 
position (Fig. 349). 



A VARIATION OF "TEN MEN" 



157 



Fifth : The same as the Fifth of "Ten Men." 

Sixth : With the teeth pick up both the right lower near thumb strings close to 
the right thumb, and draw them over the tip of the thumb, and let them drop on 




Fig. 350 



the palmar side, being careful not to disturb the upper thumb loop. In the same 
manner with the teeth draw the two left lower near thumb strings over the tip of 
the left thumb. 

Seventh and Eighth: The same as the Seventh and Eighth of "Ten Men." 




Ninth : Repeat the Fourth movement (Fig. 350). 

Tenth: The same as Fifth movement of "Ten Men." 

Eleventh : Repeat the Sixth movement. 

Twelfth and Thirteenth : The same as Twelfth and Thirteenth of "Ten Men" 

(Fig- 3'SO- 

This figure is like "Ten Men"; the difference is produced in the Fourth move- 
ment, where you draw toward you on the thumb the lower far index string in addition 
to the near little finger string. 



158 



STRING FIGURES 



CAROLINE ISLANDS TRIANGLES 

The Natik woman, "Emily," who taught Dr. Furness this figure had no name 
for it. I call it the "Triangles" until the proper name can be discovered. 

First, Second and Third : The same as First, Second and Third movements of 
"Ten Men." 

Fourth : Bend each thumb away from you over the lower near index string, 
pick up from below on the back of the thumb the two far index strings (Fig. 352), 




Fig. 352 



and return the thumb to its position. This movement draws the far index strings 
toward you between the upper and lower near index strings. 

Fifth : Bend each middle finger down over the upper near index string, pick 
up from below on the back of the middle finger the lower near index string (Fig. 




Fig. 353, 



353), and return the middle finger to its position. Bend each ring and little finger 
away from you over the little finger loop, and then down on the palm. 

Sixth : Take each thumb out of its loops, and let the loops hang down (Fig. 
354). Then pass each thumb away from you through these hanging loops, pick 



CAROLINE ISLANDS TRIANGLES 



i59 



up from below on the back of the thumb the near index string (Fig. 355, Left hand), 
which hangs somewhat loosely over the little finger loop, and return the thumb 
to its position (Fig. 356). 

Seventh : Turn the hands with the palms away from you, and holding the 
thumbs upright bend the middle fingers over the far middle finger string and down 




Fig. 355 




Fig. 356 



i6o 



STRING FIGURES 



on the palm. Then turn the hands so that the fingers closed on the palms face, 
each other and the finished figure will be formed (Fig. 357). 

The only interesting thing about this figure is the method by which the final 




pattern is exhibited ; in no other figure is the pattern turned over so that the far side 
becomes the near side. 



CARRYING MONEY 



M' KK 



Dr. Furness learned " Carrying Money " from a boy in the Island of Uap, 
Western Carolines, in 1902. The native name is Runi-ka-jei. 

First : Form the figure of "Ten Men." 

Second : Rest the figure on your lap and slip each thumb out of its loop, and 
then pick up from below on the back of the thumb, close to the index finger, the string 
which passed from the thumb to the index (Fig. 358). Gently withdraw each 
middle finger from its loop, and let the string which passes over each index and 
thumb slip off the index, and draw the hands apart with the strings on the thumbs 
and index fingers until the central figure is about two inches in diameter (Fig. 359). 
Now withdraw the thumbs and index fingers, and let the figure lie flat on the. lap, 
or a table, with the four loops radiating from the central circle. 

Third : Without disturbing the figure, pick up with the left thumb and index 
the far string of the right near loop about two inches from the central figure, and 
pick up with the right thumb and index the same string about two inches farther to 
the right; and form a small, flat circle in the string by passing the string held by the 
right thumb and index under the string held by the left thumb and index ; the point 
where the strings cross should be toward you. Lay the ring down, and with the 



CARRYING MONEY 



161 



left thumb and index pick up the end of the right far loop and, without twisting the 
strings, thread the whole loop from below through the small circle formed on the 
far string of the right near loop and put the far loop back into its former place. 

With the left thumb and index pick up the near string of the right far loop about 
two inches to the right of the ring through which it has just been threaded, and with 




the right thumb and index pick up the same string about two inches farther on to 
the right ; in the same way as before, make a similar circle in this string by passing 
the string held by the right thumb and index over the string held by the left thumb 
and index; in this circle the cross of the strings should be away from you. Pick up 




Fig. 359. 



with the left thumb and index the right near loop, and, without twisting the strings, 
thread the whole loop from above and away from you through the circle just formed 
in the near string of the right far loop, and put it back in its place on your lap. 



i6 2 STRING FIGURES 

In the same manner put a similar loop on the far string of the left near loop and 
thread the left far loop through it; and put a similar loop on the near string of the 
left far loop, and thread the near loop through it (Fig. 360). The central figure 
represents a piece of Caroline Islands Money — a large circular slab of stone — and 
the four little circles are the natives who are carrying the money on a pole passing 
through the middle of the slab. 

This is the only example I am able to give of a final figure which is made by 
taking the loops from the fingers and then arranging the strings, as it were, artificially. 

As this particular figure was shown to Dr. Furness by a young boy, one might 
reasonably suspect that there is another way of doing it which he did not know; 
but I have seen an Eskimo make a figure in a similar manner and it is possible that 
the finished figures (which I give farther on) from the Nauru, or Pleasant, Island of 




Fig. 360. 

the Marshall Islands, were, to some extent, made artificially. Obviously, figures 
formed in this way are less interesting than those developed entirely on the hands. 

The figure produced by the Second movement (Fig. 359) occurs among the 
finished patterns from Australia given by Roth (pi. x, Fig. 1) see page 383 ; and Edge- 
Partington figures (pi. 341, 1) a similar pattern from Torres Straits, preserved in 
the British Museum (A. C. Haddon Collection) entitled " cat's-cradle in the form 
of a mouth (good)." As this simple pattern can be produced by several entirely 
different methods, it probably will be found to be very widely distributed. 



HOUSE OF THE BLOS-BIRD 

Palangan-im-mun-blos is the native name for this interesting game secured by 
Dr. Furness from the Natik woman "Emily." 

First and Second: The same as the First and Second movements of "Ten 
Men." 

Third : Put each thumb from below into both index loops, and draw the thumb 
toward you in order to make the loop wider. Turn the middle, ring and little fingers 
of each hand away from you down over both strings of the little finger loop, and 
then, keeping the strings taut, turn the hands with the palms facing each other and 
then facing upward, to bring these three fingers toward you and up through the two 
loops passing around the thumb and index. 



HOUSE OF THE BLOS-BIRD 



163 



Let the far index strings slip over the knuckles of the middle, ring and little 
fingers to the back of the hand; straighten these fingers to release the little finger 




Fig. 361. 




Fig. 362. 



strings held under them, the loop itself, however, remaining on the little finger. 
Let the former index loops slip down on 
the wrists. Draw the strings tight (Fig. 

361). 

Fourth : Bend each index down into the 
little finger loop, and draw toward you the 
near little finger string, then still holding this 
string put the index down into the thumb 
loop (Fig. 362, Right hand), and pick up 
the far thumb string by turning the palm 
away from you and straightening the index 
(Fig. 362, Left hand). Separate the hands 
(Fig. 363). Fig. 363. 




164 



STRING FIGURES 



Fifth : Withdraw the thumbs from their loops, and transfer each index loop 
to the thumb by putting the thumb from below into it and withdrawing the index 
(Fig. 364). 

Sixth : With the thumb and index of the right hand take from the left hand the 
two loops passing around the left wrist, and put them again on the left hand in the 




First Position. With the thumb and index of the left hand] take from the right 
hand the two loops passing around the right wrist, and put them again on the right 
hand in the First Position (Fig. 365). 

Seventh : Bend each index down into the little finger loop, and draw toward 
you the near little finger string (Fig. 366), then, still holding this string, put the index 
down into the thumb loop (Fig. 367, Right hand), and pick up the far thumb 




Fig. 365 



string by turning the palm away from you and straightening the index (Fig. 367, 
Left hand), being careful to keep all the strings on the thumbs. 

Eighth : Bend the middle, ring and little fingers of each hand down over all the 
far little finger strings, and bring the two far little finger strings that pass directly 



HOUSE OF THE BLOS-BIRD 



165 



from hand to hand, forward, toward you, until they touch the rest of the figure held 
extended between the index fingers and the thumbs (Fig. 368). 

Ninth : Carefully withdraw each thumb from its loops, and insert it again into 




Fig. 366 




Fig. 367. 





Fig. 368. 



Fig. 369. 



the loops, but from the near side and away from you, and pick up on the back of the 
thumb the two straight strings held toward you by the middle finger (Fig. 369, 



i66 



STRING FIGURES 



Left hand), and pull them down through the loops (Fig. 369, Right hand) by 
restoring the thumb to its original position (Fig. 370). 

Tenth : Remove all the loops from the little fingers. This can be readily done 
by pushing them off one little finger with the other little finger. 

Eleventh : Transfer the index loops to the little fingers by picking up the near 
index string of one hand with the thumb and index of the other hand, and placing 




the loop on the little finger, so that, without any twisting, the near index string 
becomes the far little finger string of the same hand (Fig. 371). 

Twelfth : Find the far thumb string which passes directly from thumb to thumb 
(it often hangs down loosely), and pick it up on the tip of each index finger to form 
the ridge pole of the "house" (Fig. 372). The figure is extended between the 




Fig. 371. 



thumbs and the index and little fingers, with the palms facing each other and the 
fingers directed upward. 

Just what a "blos-bird" is, I am unable to say, but it has a house and a very 
pretty one at that. 

The method of transferring the index loops to the wrists, observed in the Third 



THREE STARS 



167 



movement, is peculiar to this figure; a single index loop is transferred in the same 
manner in the two figures which follow immediately. 

The Fourth movement is interesting because of its resemblance to the Torres 
Straits "King Fish," but in that figure the index is put first into the thumb loop 
and then into the little finger loop, and the movement is confined to the right hand. 




Fig. 372 



We shall see the Torres Straits movement done in the next figure, the " Three Stars," 
but done with both hands. The Eighth and Ninth movements are foreshadowed 
in the Sixth movement of the "Triangles." Of course, the Eleventh movement 
can be done by the little fingers ; it requires some dexterity. 



THREE STARS 



-*¥¥ 



Dr. Furness was taught Dilipi-tuj, or " Three Stars," by a Uap girl of thirteen, 
named "Dakofel." 

First : Opening A. 

Second : Put each thumb from below into the index loop, and draw the thumb 
away from the index to make the loop wider. Turn the middle, ring and little 
fingers, of each hand away from you, down over both strings of the little finger loop, 
then, keeping the strings drawn tight, turn the hands with the palms facing each 
other and then facing upward, in order to bring these three fingers toward you and 
up through the loop passing around both thumb and index; let the far index string 
slip over the knuckles of the middle, ring and little fingers to the back of the hand; 
straighten these fingers to release the little finger strings held under them, the little 
finger loop itself remaining on that finger. Let the former index loop slip down on 
the wrist and draw the strings tight. 



i68 



STRING FIGURES 







Fig. 375. 



Fig. 376. 




DAKOFEL, A UAP GIRL. 
(Courtesy of Dr. William Henry Furness, 3rd.) 



THREE STARS 



169 



Third : Bend each index down into the thumb loop, and draw away from you 
the far thumb string; then put the index, still holding the thumb string, down into 
the little finger loop (Fig. 373, Right hand), and pick up on its tip the near little 
finger string, by curving the finger toward you and up to its usual position (Fig. 
373, Left hand, and Fig. 374). 

Fourth : Turn the right hand with the palm facing you, and with the thumb 
and index of the left hand pick up together the right near index string and the right 
far thumb string, just where they cross on 
the right palm (Fig. 375). Withdraw the right 
hand from all the loops except the wrist loop 
(Fig. 376). The left thumb and index are 
now holding two loops — a long near one (the 
former right thumb loop) and a smaller far 
one (the former right index loop). Put the 
right little finger away from you, and from the 
near side, through the long loop only (Fig. 
377), and put the right thumb above and to 
the right side of the near string of the loop 
now on the right little finger, and then toward 
you, and from the far side, through the 
smaller loop only (Fig. 378). 

Keeping the strings securely on the right 
hand, turn the left hand with the palm toward you, and with the thumb and index 
of the right hand pick up together the left near index string and the left far thumb 




Fig. 377. 





Fig. 378. 



Fig. 379. 



string, just where they cross on the left palm (Fig. 379). Withdraw the left hand 
from all its loops except the wrist loop. The right thumb and index are now 



170 



STRING FIGURES 



holding two loops : a long near loop (the former left thumb loop) and a smaller 
far loop (the former left index loop) (Fig. 380). 

Put the left little finger, from the near side, through the long loop (Fig. 
381), and put the left thumb above and to the left side of the near string of the loop 




Fig. 380. 



now on the left little finger, and then, toward you and from the far side, through 
the smaller loop (Fig. 382). Separate the hands (Fig. 383). 

Fifth : Repeat the Third and Fourth movements and the figure assumes the 
appearance shown in Fig. 384. 

Sixth : Repeat the Third and Fourth movements and the central figure becomes 
more complicated (Fig. 385). 

Seventh : Repeat the Third movement. Turn the hands perfectly flat with 
the palms facing upward. You now have a loop on each index, a loop on each 





Fig. 381. 



Fig. 382. 



THREE STARS 



171 





Fig. 384 




172 



STRING FIGURES 



thumb and a loop on each wrist. If the movements have been properly performed, 
you should have a central figure formed of two straight strings (the upper, the com- 
mon far index string, the lower, the common near thumb string), with three other 
strings on each side (the two strings of the wrist loop and the far little finger string) 
looped loosely around them (Fig. 386). Unless care be observed this pattern will 




slip easily and become merely a twisted rope. If this pattern should not appear 

after the Seventh movement, you have made some mistake. 

Eighth : Keeping the left hand with the palm facing you, with the right thumb 

and index pick up the left near wrist string close to the left wrist (Fig. 387), and 

lift it over the left thumb, and lay it over the cross 
formed on the left palm by the left near index string and 
the left far thumb string; and then pick up at this cross all 





Fig. 387. 



Fig. 388. 



Fig. 389. 



three strings with the right thumb and index (Fig. 388), and withdraw the left hand 
entirely from the figure (Fig. 389). 



THREE STARS 



173 



The right thumb and index are now holding three hanging loops, a near loop 
(the former left thumb loop), a middle loop (the former left wrist loop) and a far 
loop (the former left index loop). Put the left little finger, from the near side, 





Fig. 390. 



Fig. 391. 



through the near loop only (Fig. 390), and put the left thumb, from the near side, 
through the near loop and the far loop, but not through the middle loop (Fig. 391). 
Turn the left hand up to hold the loops on the fingers. Turn the right hand with 
the palm toward you, and with the left thumb and index pick up the right near wrist 
string (Fig. 392), close to the right wrist, and lift it over the right thumb and lay 




Fig. 392. 



Fig. 393. 



it over the cross formed on the right palm by the right far thumb string and the right 
near index string, and pick up at this cross all three strings with the left thumb and 
index (Fig. 393), and withdraw the right hand entirely from the figure (Fig. 394). 
The left thumb and index are now holding three hanging loops: a near loop (the 



174 



STRING FIGURES 



former right thumb loop), a middle loop (the former right wrist loop) and a far 
loop (the former right index loop). Put the right little finger through the near 
loop, from the near side (Fig. 395), and put the right thumb, from the near side, 





Fig. 395. 



Fig. 396. 



through the near loop and the far loop, but not through the middle loop (Fig. 396). 
Turn the hands with their palms facing you, but do not draw the strings very tight 

( Fi g- 397)- 

Ninth : Bend each index down, and take up on the back of the index the far 
thumb string (not the palmar string) (Fig. 398), and, pressing the thumb against 
the index to hold the string in place, straighten the index, turn the palm away from 




Fig. 397. 



you, and press down with the middle, ring and little fingers the far little finger string 
in order to extend the figure (Fig. 399). 

If the "Three Stars" be not at once distinct, they can be worked into shape by 
alternately turning the palms toward you and away from you, keeping the positions 
of the strings on the fingers unchanged. 



THREE STARS 



i75 



"Three Stars" is one of the longest of all the figures; there is so much repetition, 
however, that it is really not very difficult. The Second movement is similar to the 
Third movement of the "House of the Bios- Bird." The Third movement is like a 
movement in the Torres Straits "King Fish." The Fourth and Eighth movements 




Fig. 398. 

are peculiar to this figure; there are, however, analogous movements in the Caroline 
Islands "Coral." 

The final extension of the pattern is found in a number of the Caroline Islands 
figures ("Three Stars," "Coral," "Two Chiefs," "One Chief," "Diamonds," 
"Turtle"), and in no others. It is very essential that the thumb be pressed close 




to the index, to hold in place the string which passes from the back of the thumb 
upward, around the tip of the index, otherwise part of the extension by means of 
the thumb will be lost. 



176 



STRING FIGURES 



NO NAME 

This Natik figure, which I have called "No Name," was shown Dr. Furness by 
the woman "Emily." 

First and Second : The same as the First and Second movements of "Three 
Stars." 

Third: Then follow the Fourth, Fifth, Sixth, Seventh, Eighth, Ninth and 
Tenth movements of the "House of the Bios- Bird." Remember that in this figure 
there is only one loop on each wrist, whereas there are two in the " House of the Bios- 
Bird," therefore where two loops or strings are referred to in the Sixth, Eighth and 




Fig. 400. 



Ninth movements of the "House of the Bios- Bird," you will find in this figure 
only a single loop or string. 

The figure is extended between the thumbs and little fingers (Fig. 400). By 
alternately bringing together and separating the thumb and little finger of each 
hand, the two parts of the figure can be made to move toward the hands. 

This figure reminds us of the "Two Coyotes" of the Navahos. I have been 
particularly interested in "No Name" because I worked it out myself while trying 
to make variations on the "House of the Bios-Bird," and before I knew that Dr. 
Furness had collected it in the Caroline Islands. 




CORAL 



The native name of this figure is Melang. Dr. Furness obtained it from a 
native woman called "Lemet," who was a "Mispil" (a woman of the long-house) 
in the village of Dulukan in Uap. 

First : Opening A. 

Second: Turn the hands with the palms toward you, draw the strings tight 
and close the four fingers on the palm over all the strings except the near thumb 




LEMET, A UAP WOMAN. 
(Courtesy of Dr. William Henry Furness, 3rd.) 



CORAL 



177 



string (Fig. 401). Now, by turning each hand down and then up toward you under 
the near thumb string, you can put this string on the backs of the four fingers. 
Unclose the hands (Fig. 402). 

Third : Pass each thumb up on the far' side of the string which, passing between 




the thumb and index, crosses the back of the four fingers, and let the loop slip down 
on the wrist (Fig. 403). 

Fourth : Incline the hands slightly toward each other, and keeping the strings 
tight, turn the palms away from you, and pass each thumb under both the near and 



178 



STRING FIGURES 



far wrist strings (Fig. 404), and up into the little finger loop, then catch each far little 
finger string on the side of the thumb and, turning the palms toward each other 




Fig. 404. 



(Fig. 405), draw it toward you on the back of the thumb under all the strings as you 
return the thumb to its position (Fig. 406). 

You now have on each hand : a loop on the thumb, a loop on the index, a loop 
on the little finger and a loop on the wrist. Under the wrist loop passes a string 
formed of the near thumb string and the far little finger string. 

Fijth : With the thumb and index of the left hand put the right thumb loop on 
the left thumb without twisting it, and with the thumb and index of the right hand 




Fig. 405 



put the left thumb loop on the right thumb without twisting it. This movement 
simply exchanges the thumb loops (Fig. 407). 

Sixth : Pass each thumb away from you over the far thumb string and both 
strings of the index loop, and take up from below on the back of the thumb the 
near little finger string, and return the thumb to its position (Fig. 408). 



CORAL 



179 




Fig. 406 




Fig. 407. 




Fig. 408. 



i8o 



STRING FIGURES 



Seventh : Bend each middle finger down over the palmar string and both strings 
of the index loop, and take up from below on the back of the middle finger the far 




Fig. 409 



thumb string (not the palmar string) (Fig. 409), and return the middle finger to its 
position (Fig. 410). 

Eighth : Release the loops from the thumbs and little fingers and draw the 
hands apart, but do not draw the strings too tight (Fig. 411). 

You should now have a loop high up on each middle finger,' a loop around the 
base of each index and a loop on each wrist. The central figure has the shape of a 
kite ; it should be large or the final figure will not be successful. 

Ninth : Turn the hands with the palms up, and with the left thumb and index 
pick up from the edge of the right wrist the right near wrist string (Fig. 412), and, 
slipping it out over the thumb and index, place it on the middle finger beside the 




near middle finger string (Fig. 413). Now, with the left thumb and index pick up 
both these strings from the right middle finger, and slip the right hand out of all 
the loops (Fig. 414). The left thumb and index are now holding two hanging loops; 
one loop is large and projects farther to the right than the smaller one. Put the right 
little finger away from you through the wide loop only, and put the right thumb away 
from you through both loops (Fig. 415), and turn the hand up. You now have a 



CORAL 



181 




Fig. 411. 





Fig. 412. 



Fig. 413 





Fig. 414. 



Fig. 415. 



l82 



STRING FIGURES 



loop on the right thumb and a loop on the right hand in the "First Position" (Fig. 
416). 

In the same way turn the left hand with the palm up, and with the right thumb 
and index pick up from the edge of the left wrist the left near wrist string and lay 




Fig. 416. 

it on the side of the left middle finger beside the left near middle finger string. 
Now with the right thumb and index pick up both these strings, and withdraw 
the left hand from all its loops. The right thumb and index are holding two hanging 
loops ; put the left little finger away from you through the wide loop only, and put 
the left thumb away from you through both loops, and turn the hand up, but do 
not draw the strings tight; only sufficiently to pull out any hanging loops (Fig. 417). 




Fig. 417. 



CORAL 



183 



Tenth : Bend each index finger down and hold the far thumb string between its 
first joint and the first joint of the thumb ; then pick up from below on the side of the 
tip of the index the far thumb string (not the palmar string) (Fig. 418). Now, 
holding the thumb close to the index, curve the index toward you and up, at the 
same time turning the palms away from you and holding down the far little finger 




Fig. 418. 

string with the middle, ring and little fingers of each hand (Fig. 419). Separate 
the hands and draw the strings tight. 

The final pattern is difficult to form and requires practice. Some working of 
the strings is usually needed at the end of the last movement to bring out the branch- 
ing " Coral." 

In this figure the Second movement is like the movement in the "Leashing of 
LochiePs Dogs." The method of catching the far little finger string, seen in the 
Third movement, is peculiar to this figure. You have probably noticed that the 




thumb loops exchanged in the Third movement are not similar to finger loops ex- 
changed in preceding figures, because the same string forms the far string of each 
thumb loop. 

The Ninth movement is not very unlike the Eighth movement of "Three Stars." 



i»4 



STRING FIGURES 
A MAN 



I was shown this figure at the St. Louis Exposition in November, 1904, by the 
two Navaho girls, Zah Tso and her sister, who taught me other Navaho figures. 
The Navaho name is Denne, or Hastine denne. 

First : Opening A. 

Second : With the thumb and index of the right hand turn the left near index 
string away from you once around the left index, thus putting a ring around that 




finger in addition to the left index loop. In like manner with the thumb and index 

of the left hand turn the right near index string around the right index (Fig. 420). 

Third : Take up from below on the tip of the right index the ring around the 

left index and separate the hands (Fig. 421). Keep the loop just drawn out near 




the tip of the right index, as it is absolutely necessary throughout these movements 
to keep the different index loops distinct. See that on the left index the original 



A MAN 



i85 



loop (the one with the near string going to the far side of the right thumb) is above 
the other loop — about half-way up on the finger; and keep the loops in place by 
pressing the side of the left middle finger against the side of the left index. Now, 
take up from below on the tip of the left index the ring around the right index, 




Fig. 422 



and draw the hands apart (Fig. 422). Keep this new left index loop up at the 
tip of the index. See that the original right index loop (the one with the near 
string going to the far side of the left thumb) is placed on the right index half- 
way up, and between the other two loops. 

You now have a loop on each thumb, a loop on each little finger and three 
loops on each index finger; the near strings of these three loops must cross one 
another as follows : the near strings of the top loops cross each other to become the 




Fig. 423. 

near strings of the lower loops; the near strings of the middle loop cross lower 
down over the near strings of the lower loop and still lower they cross each other. 

Fourth : Keeping the loops in these relative positions on each index, by pressing 
the middle finger and index together, carefully turn the hands with the palms 
toward you, and close the four fingers down on the palm, over all the strings except 
the near thumb string (Fig. 423). Throw this near thumb string away from you 
over the hands and let it fall down on the backs of the hands. Now return each 
hand to its usual position, and put each thumb up under the near string of the 



i86 



STRING FIGURES 



loop you have just put on the back of the hand, and let the whole loop slip down 
around the wrist (Fig. 424). 

Fifth : Pass each thumb away from you under both strings of the wrist loop 




and pick up on the back of the thumb, from the far side, the far little finger string, 
and return the thumb to its position (Fig. 425). 



A MAN 



187 



You now have on each hand, (1) a loop on the wrist; (2) a loop on the thumb 
formed of a straight near string and a far string crossing the palm under the strings 





Fig. 427. 



Fig. 428. 



of the wrist loop; (3) a loop on the little finger, formed of the palmar string and a 
near little finger string which becomes the lower far index string; (4) three loops 
on the index with their six near strings crossing one another as follows : the upper 
strings cross each other, and then, becoming the strings of the lower loops, run 
under the middle strings ; the middle strings cross over the lower strings, and then 
cross each other. This arrangement of the 
near strings of the index loops is essential to 
the success of the figure. 

Sixth : Put each thumb up on the far 
side of the near string of the middle loop, 
close to the point where it crosses the same 
string from the other index, then on the near 
side of the lower near index string, and then 
on the far side of the upper near index string 
(Fig. 426), and separate the thumb from 
the index to widen out these index loops 
(Fig. 427). 

Of the three strings now passing around 
each thumb the two upper form two crosses between the thumbs, and the lower 
runs directly from thumb to thumb. 

Seventh : Bend each middle finger toward you down over all the index strings 
(not over the strings passing from the back of the thumb to the back of the index), 
and pick up from below close to the thumb, the lower far thumb string (the string 
which becomes the palmar string) (Fig. 428), and return the middle finger to its 
position (Fig. 429). It is necessary to pick the string up at a point between the 
thumb and the place where it is crossed by the near wrist string. 




i88 



STRING FIGURES 



Eighth : Release the loops from the thumbs, the index fingers, and the little 
fingers and draw the hands apart (Fig. 430). 

I have put this figure next to the "Coral" because, although a Navaho figure, 
it closely resembles that Caroline Islands figure. 

In some respects "Man" is the most difficult of all the games, not because of 
its length, but because of the necessity of arranging the loops properly on the index 
fingers, and keeping them so arranged, throughout several very active movements. 

The rings placed around the index fingers by the Second movement are peculiar 
to this figure. The transfer of the thumb loops to the wrists is similar to the 




transfer in " Coral," as is also the drawing of the far little finger string toward you 
under the wrist strings; but in this figure the string is picked up from below, not 
from above. The Seventh movement is like the Seventh movement of "Coral." 



TWO CHIEFS 



#*- 



" Two Chiefs " was secured by Dr. Furness from a man in Uap, probably a 
native of the village of Dulukan. The native name is Logaru-pilun. 

First: Put the loop on the hands in the "First Position," but with the two 
strings between the hands crossed. 

Second: Opening A. 

Third : With the back of each thumb take up, from below, the near index string, 
and return the thumb to its former position (Fig. 431). 

Fourth : With the left thumb and index lift the right lower near thumb string 
over the right upper near thumb string, and then over the tip of the right thumb, 
and let it drop on the palmar side. With the right thumb and index lift the left 



TWO CHIEFS 



189 



lower near thumb string over the left upper near thumb string, then over the tip 
of the left thumb (Fig. 432), and let it drop on the palmar side. 

Fifth : Bend each little finger down toward you, and pick up from below on 




Fig. 432. 




Fig. 433 



the back of the finger the far index string (Fig. 433, Right hand), and return the 
little finger to its position (Fig. 433, Left hand). 



190 



STRING FIGURES 



Sixth : With the left thumb and index lift the right lower far little finger string 
over the tip of the right little finger, and drop it on the palmar side, without dis- 
turbing the upper right far little finger string (Fig. 434). In like manner with the 
right thumb and index lift the left lower far little finger string over the tip of the 

left little finger and let it drop. Separate 
the hands (Fig. 435). 

Seventh : Release the loops from the 
index fingers. There is now a single loop 
on each thumb and a loop on each little 
finger. 

Eighth : Bring the hands together 
with the points of the fingers almost touch- 
ing, and put the left little finger loop on 
the right little finger, and put the left 
thumb loop on the right thumb (Fig. 436), 
and remove the left hand. 

Ninth : Turn the right hand with 
the palm toward you, and insert the left 
thumb toward you into both loops hang- 
ing on the right little finger (Fig. 437), and withdraw the right little finger. Put 
the hands in their usual positions, the palms facing each other, and let the strings 
hang loosely between them (Fig. 438). 

There are now two loops on each thumb ; the upper loop should be near the tip 
of the thumb, the lower loop down at its base. Take up from below on the tip of 




Fig. 434. 




each index the upper far thumb string; keep it on the tip of the index (Fig. 439, 
Left hand), and press down with the other fingers the lower far thumb string. 

Then turn the palms away from you, and straighten the index fingers. Hold 
the upper string which passes from each thumb to the index securely in position, 



TWO CHIEFS 



191 





Fig. 436. 



Fig. 437. 




Fig. 438. 




Fig. 439. 



192 



STRING FIGURES 



by pressing the thumb against the index, but permit it to slip through slightly, to 
make the figure tight (Fig. 440). 

"Two Chiefs" is an attractive figure, and not difficult after you have mastered 
the method of extension. The crossing of the strings in the first movement is found 
elsewhere only in the Osage "Thumb Catch." The Fourth movement resembles a 
characteristic Navaho movement ; the result of the Sixth movement is similar to the 




Fig. 440. 



result produced by one of the movements in the "Leashing of Lochiel's Dogs." 
The Ninth movement is really peculiar to this figure. We shall see the same general 
principle, however, applied to the Seventh movement of the Eskimo "Mouth." 



A MAN AND A BED 

This is a Torres Straits figure collected by Dr. Haddon and heretofore un- 
published. The native name is Le Sik. 

First : Opening A. 

Second : Pass each thumb away from you under the index loop ; pick up on the 
back of the thumb the near little finger string, and return the thumb to its former 
position (Fig. 441). 

Third : Pass each little finger toward you and, from above, through the index 
loop, and pick up on the back of the little finger the far thumb string (not the palmar 
string) (Fig. 442), and return the little finger to its position (Fig. 443). 

Fourth : Release the loops from the index fingers, and sing, "Le sikge, le sikge, 
uteidi, uteidi, sik erapei" (Man on a bed, man on a bed, lies sleep, lies sleep, bed 
breaks). At the word "erapei," release the loops from the little fingers, and the 
figure will disappear. 



A MAN AND A BED 



.193 




Fig. 441. 




Fig. 442 




Fig. 443. 



194 



STRING FIGURES 





Fig. 445. 



A PALM TREE 195 

A PALM TREE 



*r 



This is another unpublished Torres Straits figure procured by Dr. Haddon. 
The native name is U. 

First : Opening A. 

Second : A second person catches the middle of the near thumb string and 
draws it away from you over all the other strings (Fig. 444). 

Third : Exchange the loops on the little fingers, passing the right loop over the 
left loop. 

Fourth : Exchange the loops on the index fingers, passing the right loop over 
the left loop. 

Fifth : Draw the hands toward you to pull tight the loop held by the second 
person, and work the strings to form the crown of the palm tree (Fig. 445). 

In Torres Straits this figure is formed by one person. After Opening A, the 
four fingers of each hand are passed from above into the thumb loop and closed over 
all the strings except the near thumb string, to hold them tight. The hands are 
then turned with the fingers directed away from the body and the toe is passed up and 
put from the far side into the thumb loop to catch the near thumb string and pull 
it down. 



A CANOE WITH TWO MASTS 



The native name in Torres Straits is Nar. The figure was secured by Dr. 
Haddon, who has given me his unpublished description of it. 

First : Opening A. 

Second : A second person passes his hand toward you over the far little finger 
string and under the crossed far index strings, and picking up the two near index 



196 



STRING FIGURES 



strings where they cross (Fig. 446), pulls them away from you through the figure 
(Fig. 447). 

Third : Bend the right middle finger and pass it from above through the right 




Fig. 446, 



ring- like index loop (Fig 448). Then, with the left thumb and index, pull the right 
near index string to the left, so that you can pick up from below on the back of the 




right middle finger the right far thumb string (Fig. 449). Return the middle finger 
to its position and drop the string held by the left thumb and index. In the same 



A CANOE WITH TWO MASTS 



197 





Fig. 449. 



198 



STRING FIGURES 





A CANOE WITH TWO MASTS 



199 



manner, bend the left middle finger and pass it from above through the left ring-like 
index loop. Then with the right thumb and index pull the left near index string to 





Fig. 453. 

the right, and pick up from below on the 
back of the left middle finger the left far 
thumb string; return the middle finger to 
its position and drop the string held by 
the right thumb and index (Fig. 450). 
Fourth : Release the loops from the little fingers, the index fingers and the 
thumbs. Arrange each middle finger loop on the hand in the "First Position" 
(Fig. 451). The second person must not 
release the loops he has been holding. 
Fifth: From Opening A (Fig. 452). 
Sixth : Pass both middle fingers from 
below into the loops held by the second 
person, and bending them toward you pick 
up from below on their backs the near 
thumb string (Fig. 453) ; then, by straight- 
ening the middle fingers, draw this string 
away from you and down through the loops 
held by the second person. 

Seventh : The second person now re- 
leases the loops he has been holding (Fig. 454) I Fig. 454 




200 



STRING FIGURES 



and you release the loops from the thumbs and index fingers, and draw the strings 
tight to extend the figure (Fig. 455). 

In forming this figure a native would not require the aid of a second person, but 
would use the toe to draw down the crossed near index strings, in the Second move- 




Fig. 455 



ment. To prepare for this it is necessary after Opening A to turn the hands with 
the thumbs up and the fingers pointing away from the body. 



A HOUSE 

m 

Dr. Furness collected this figure in the Island of Uap, Western Carolines in 1902, 
from the same little boy who taught him " Carrying Money." The native name is 
Naun. The pattern is known to the Maoris of New Zealand, and to the blacks 
of North Queensland (see Roth, plate xii, Figs. 4, 5, reproduced on page 385 of 




Fig. 456. 



A HOUSE 



20I 



this book), but we have no informa- 
tion as to their methods of forming 
it or that they fully complete the figure 
by pulling up the ridge-pole. 

Two persons (A and B) and two 
loops of string are required for this 
figure. 

First: Each person takes a loop 
and proceeds to form Opening A. 

Second : They then stand close 
together facing each other, and each 
turns his hands with the thumbs up 
and the fingers directed toward the 
other person. Then A passes his hands 
away from him through the index loops 
of the figure held on the hands of B. 
B then draws his hands toward him, 
but leaves his index loops on the wrists 
of A (Figs. 456,457)- 

Third : B passes his hands away 
from him through the index loops of the figure held on the hands of A. 
his hands toward him, but leaves his index loops on the wrists of B (Fig. 




A draws 
458). 




202 



STRING FIGURES 



Fourth : A now takes his hands entirely out of the figure which he has been 
holding and, gathering together all the strings running to B's hands, twists them into 
a rope (Fig. 459), and passes this rope several times around the figure held in B's 




hands, under the figure toward B, then up between B and the figure, and finally over 
the figure toward A, and allows the end to hang down (Fig. 460). 

Fifth : A with the right hand now removes the loop from B's left thumb, and 
with the left hand removes the loop from B's left little finger. B removes his left 
hand from the wrist loop, and picks up with the left hand the right thumb loop and 




Fig. 460. 

the right little finger loop ; and removes his right hand from the wrist loop, and then 
holds in his right hand the right little finger loop (Fig. 461). A and B now draw 
the hands apart, working the figure until the large square pattern appears (Fig. 462). 
Sixth : A and B now sit down opposite each other, crossing the legs tailor- 
fashion, and each places the loop held by the right hand on the left foot, and the 



A HOUSE 



203 




Fig. 461. 






Fig. 462. 




204 STRING FIGURES 

loop held by the left hand on the right foot. The feet must be pressed down 
firmly to keep the loops secure. A now brings together the pair of inner strings 




Fig. 463. 

which pass at right angles under the other pair of inner strings, and with both hands 
lifts them up to form the ridge-pole of the house (Fig. 463). 

The corner loops held by the feet represent the piles on which the house is 
built. 

This is a pretty figure and the only one — except "Ten Times," in the formation 
of which two people take equal shares. 

I have put it in this place in the series because it is the last of the figures which 
begin with Opening A. 

w 

This figure was obtained by Mr. John L. Cox, at Hampton, Virginia, from 
Wallace Springer, an Omaha Indian. 

First: First Position. 

Second : Bend each index down and pick up from below, and from the palmar 
side, the palmar string of the same hand (Fig. 464). Return the index to its position, 
withdraw the thumbs from the loop and draw the strings tight (Fig. 465). 



A HOUSE 



205 




Fig. 464. 




Fig. 465. 



206 



STRING FIGURES 



You now have on each hand : a near index string, a far little finger string and a 
string passing across the palmar surface of the middle and ring fingers, and behind 
the index and little fingers. 

Third: Opening A, picking up the palmar strings with the middle fingers 
(Fig. 466). 

Fourth : Pass each thumb away from you over the index loop and take up from 
below on the back of the thumb the near middle finger string (Fig. 467), and return 




Fig. 466 



the thumb to its position. Release the loops from the little fingers; separate the 
hands. 

Fifth : Pass each little finger toward you over the far middle finger string and 
far index string, and pick up from below on the back of the little finger the near 




index string (Fig. 468), and return the little finger to its position. Release the loops 
from the thumbs, and draw the strings tight. 

Sixth : Pass each thumb away from you over the far index string and the near 
middle finger string, and pick up from below on the back of the thumb the far 



A HOUSE 



207 



middle finger string (Fig. 469). Release the loops from the little fingers and 
separate the thumbs widely from the other fingers (Fig. 470). 

The figure exhibits the " W " when the hands are held in their usual position; 
it exhibits an M when the hands are turned with the fingers pointing downward. 




Fig. 468 





Fig. 470 



208 



STRING FIGURES 




Fig. 471. 




Fig. 472. 



M 



209 



M 

This is another Omaha figure closely resembling the preceding, and obtained in 
the same way. 

First: First Position. 

Second : Pick up with each ring finger, from below and from the palmar side, 




Fig. 473. 



the palmar string of the same hand (Fig. 471), and withdraw the little finger (Fig. 
472). 

Third : Opening A, as usual (Fig. 473). 

Fourth : Pass each little finger toward you over the ring finger loop, and pick 
up from below on the back of the little finger the far index string (Fig. 474), and 




return the little finger to its position. Release the loops from the thumbs, and draw 
the strings tight. 

Fifth : Pass each thumb away from you over the near index string and the near 
ring finger string, and pick up from below on the back of the thumb the far ring 



2IO 



STRING FIGURES 





Fig. 476 




Fig. 477. 



M 211 

finger string (Fig. 475), and return the thumb to its position. Release the loops 
from the little fingers. 

Sixth : Pass each little finger toward you over the near ring finger string and 
the far index string, pick up from below on the back of the little finger the near 
index string (Fig. 476), and return the little finger to its position. Release the loops 
from the thumbs; separate the little fingers widely from the other fingers (Fig. 
477). When the hands are held in their usual position the "M" appears; when 
held with the fingers pointing away from you a W appears. 



CHAPTER VI 



FIGURES WHICH DO NOT BEGIN WITH OPENING A — A BOW — LIGHTNING — A BUTTERFLY — A WORM — TWIN 
STARS — A LIZARD — LITTLE FISHES — STORM CLOUDS — ONE HOGAN — AN APACHE TEEPEE — TALLOW 
DIPS — ONE CHIEF — CAROLINE ISLANDS DIAMONDS — A TURTLE — TEN TIMES. 



T 



A BOW 



HIS is another of the Navaho figures shown to me by the same two 
Navaho girls, at the St. Louis Exposition, in November, 1904. The 
native name is Atl-ti = a Bow. 



First : Hold the string between the tips of the thumb and index of each hand, 
so that a short piece passes between the hands and a long loop hangs down. Make 




Fig. 478. 



a small ring, hanging down, in the short string, putting the right hand string away 
from you over the left hand string (Fig. 478). Insert the index fingers into the ring 
downward and toward you (Fig. 479), and, putting the thumbs away from you into 
the long hanging loop (Fig. 480), separate the hands; and, turning the index fingers 



A BOW 



213 




Fig. 479. 




Fig. 480. 



214 



STRING FIGURES 



upward and outward, with the palms of the hands facing away from you, draw the 
strings tight (Fig. 481). 

Turn the hands so that the palms face each other, and the thumbs come toward 




you and point upward. You now have a long crossed loop on each index, a long 
crossed loop on each thumb and a single cross in the centre of the figure (Fig. 482). 
Second : Pass each thumb away from you over the near index string, and take 
up from below with the back of the thumb the far index string, and return the 




Fig. 482 



thumb to its former position (Fig. 483). This movement draws the far index string 
over the near index string. 

Third : Pass each middle finger toward you over the near index string, and 
take up from below on the back of the finger the far thumb string (Fig. 484, Left 
hand), and return the middle finger to its original position (Fig. 484, Right hand). 



A BOW 



215 



Fourth : Turn the palms toward you, and put the ring and little fingers of each 
hand from below between the near index string and the far middle finger string 
(Fig. 485, Left hand), and pull down the near index string by closing the ring and 
little fingers on the palm (Fig. 485, Right hand). Keep the index and middle 




Fig. 483. 




Fig. 484 




Fig. 485 



2l6 



STRING FIGURES 



fingers erect; release the loops from the thumbs, and turn the palms away from you, 
drawing the strings tight (Fig. 486). 

The " Bow" is not very interesting; it is the first of a series of six Navaho figures 
which begin in the same way — by an opening peculiar to the Navahos. At first 
glance the result of this movement — a loop on each thumb and a loop on each index 
■ — appears the same as you would have by releasing the little finger loops after 
Opening A ; but you will notice that, whereas in that case the upper straight string 




is formed by the far index strings and the lower straight string by the near thumb 
strings, by this Navaho opening we get the upper straight string formed of the 
near index strings and the lower straight string formed of the far thumb strings. 
In the Eskimo "Mouth" the result of the opening movement gives a loop on each 
thumb and index, but here the straight strings are both near strings. 



LIGHTNING 



N/VAfv/ 



I obtained this figure from Dr. Haddon in August, 1904. He learned it from 
two old Navaho men in Chicago in 1901, and has published a description of it (5, 
p. 222, pi. xv, Fig. 5). The Navaho name is Atsinil-klish. In the Philadelphia 
Free Museum of Science and Art there are two examples of the finished patterns, 
collected by Mr. Stewart Culin, but they are so badly distorted as to be scarcely 
recognizable: No. 22712 is Navaho, from St. Michael's Mission, Arizona; No. 
22732 called Vo-pi-ri-dai = Lightning, is by the Tewa Indians from Isleta, N. M. 

First, Second and Third : The same as the First, Second and Third movements 
of the " Bow." 



LIGHTNING 



217 



Fourth : Bend each ring finger toward you over the far middle finger string 
and take up from below with the back of the finger the near index string (Fig. 487, 
Left hand), and return the ring finger to its position (Fig. 487, Right hand). 

Fifth : Pass each little finger over the far ring finger string, and take up from 




below on the back of the finger the far middle finger string (Fig. 488, Left hand), 
and return the little finger to its position (Fig. 488, Right hand). 

You now have two twisted strings passing between the two little fingers, two 
loose strings passing over the thumbs and two strings laced around the other 
fingers. 

Sixth : Turn the hands with the thumbs upward and the palms facing each 




Fig. 488 



other. The little finger strings should be taut, but must not be disturbed. Keep 
all the fingers close together so that the strings cannot slip ; the success of the figure 



2l8 



STRING FIGURES 



depends entirely upon this precaution. Take the thumbs out of their loops (Fig. 
489), and throw these loops away from you over the tightly drawn twisted little 
finger strings (Fig. 490). 

Seventh : Insert each thumb into the small space between the twisted little 
finger strings, close to the little finger, and lift up the upper of the two strings (which 





Fig. 490 




Fig. 491 



A BUTTERFLY 



219 



is the far ring finger string). Now, if the lower string be kept tightly drawn and the 
other fingers be kept close together, the loose hanging strings (the original thumb 
loops) will become wrapped around the twisted little finger strings as these gradually 
untwist when the upper string is lifted by the thumb. This movement forms the 
figure, which should be about two inches high (Fig. 491). A better effect is pro- 
duced if the thumbs lift the upper little finger string just as you toss the hanging 
loop over; the zigzag lightning will then flash into view. 

This is one of the most effective and satisfactory of all the figures, but one in 
which the novice is very apt to fail owing to his letting the strings slip through the 
fingers just before its completion. The lacing of the far thumb string and the 
near index string on the rest of the fingers, which is begun by the middle finger in 
the "Bow," is carried further in this figure by the ring and little fingers. These 
movements are peculiar to the "Bow" and to "Lightning." 



A BUTTERFLY 






I obtained this figure from the two Navaho girls at the St. Louis Exposition. 
The native name is Ga-lo-ki or Ga-hi-ki. 

First : The same as the First movement of " The Bow." 




Fig. 492. 



Second : Twist each index loop five times by rotating each index down toward 
you, and up again five times. 

Third : Put each thumb from below into the index loop and, without removing 
the index, separate the thumb from the index (Fig. 492). 



220 



STRING FIGURES 



Fourth : On each hand in turn, with the teeth slip the lower (the original) 
thumb loop over the loop passing around both thumb and index, then entirely off 
the thumb, and let it drop to the palmar side. Separate the hands (Fig. 493). 

Fifth : Bring the hands close together, with the index finger and thumb of 
the one hand pointing toward the index finger and thumb of the other hand ; then 





Fig. 493. 



Fig. 494. 



hang the right index loop on the left index, and the right thumb loop on the left 
thumb (Fig. 494). Take up with the right index, from the left side, the loop you 
have just put on the left thumb, and take up with the right thumb, from the right 
side, the loop which was originally on the left thumb (Fig. 495) ; then with the right 





Fig. 496. 



thumb and index lift both loops from the left index, and put the left index away 
from you into the loop just hung on the left index, and put the left thumb toward 
you into the loop originally on the left thumb (Fig. 496). Now, placing the hands 
with the thumbs up and the fingers pointing away from you, draw them slowly apart, 



A BUTTERFLY 



221 



and when the strings have partially rolled up in the middle of the figure (Fig. 497), 
pull down with the middle, ring and little fingers of each hand the far index string 
and the near thumb string (Fig. 498), and the wings of the butterfly will be held up 




Fig. 497. 



by the strings extended between the widely separated thumbs and index fingers, 

and the proboscis will appear rolled up on the strings held down by the other fingers. 

This is a charming figure, and unlike any of the others. It is very easy to form ; 

if the Fifth movement be done properly, the finished pattern always appears. If 




Fig. 498. 



you twist the index loops more than five times, the proboscis will not roll up nicely, 
if less than four times, it will not be sufficiently large. 

The final movement is like "Lightning," in that the twists put on the strings 
in the earlier movements, by untwisting assist in the formation of the finished pattern. 



222 



STRING FIGURES 



A WORM 



J 



This is another Navaho figure which I secured from the same Indians who 
taught me the preceding figure. 

First : Hold the string between the thumb and index of each hand so that a 

short piece passes between the hands and a long loop hangs down. Make a small 

ring, hanging down, in the short string, 
putting the right hand string away from 
you over the left hand string. Insert the 
index fingers into the ring downward and 
toward you and with the thumbs in the 
long hanging loop separate the hands 
and, turning the index fingers upward 
and outward, with the palms of the hands 
facing away from you, draw the strings 
tight. 

Holding the right hand with the 
palm away from you, move the left hand 
first to the right between your body and 
the right hand and then away from you 
over the right hand, and lay all the left 
strings, doubled back on the right hand 
strings, between the right thumb and 

index (Fig. 499), and hold them there by pressing these two fingers together. Then, 

separating the hands 

slightly (not enough, 

however, to pull 

the strings through 

the right thumb and 

index), draw the 

strings moderately 

tight (Fig. 500), and 

turn the right hand 

with the palm to the 

left, and turn the left 

thumb down and then 

up toward you, and it -, M1 




Fig. 499. 




A WORM 



223 



point the left index upward (Fig. 501). Now separate the hands, drawing the 
strings through the right thumb and index, and pull them tight (Fig. 502). 

Second : Turn the palms toward you, and put the middle, ring and little fingers 
of each hand from below into the index loop (Fig. 503, Left hand), and bend 
these fingers toward you down over the near index string (Fig. 503, Right hand). 




Fig. 502. 




224 



STRING FIGURES 



Then, holding this string down with the ring and little fingers, put the middle finger 
from above into the thumb loop, and close the middle finger down on the palm, 
holding the string in the bend of the finger as you turn the hands so that the palms 
face each other (Fig. 504). 

You now have on each hand: (1) a near thumb string which passes behind the 
thumb, then away from you around the bent middle finger, and then straight across 




Fig. 504 



to the other middle finger; (2) a far little finger string which passes toward you 
under the bent little, ring and middle fingers, up on the near side of the index, away 
from you around its tip and finally, as a far index string, to the centre of the figure. 
Third: Bring the hands close together, the thumb and index of one hand 
pointing toward the thumb and index of the other hand (Fig. 505), and keep through- 





Fig. 505. 



Fig. 506. 



out the following movements the other fingers closed on the palm, in order to hold 
their strings securely. 

With the right thumb and index lay the left index string over the left thumb 
beside the left thumb string and on the far side of it. Withdraw the left index 
(Fig. 506). With the right index put the right index loop over the left thumb (Fig. 
507) and withdraw the right index. See that this string is close beside the other 



A WORM 



225 



two, on the side nearest the tip of the thumb. Put both index fingers toward you 
under these three strings and withdraw the left thumb (Fig. 508). With the left 





Fig. 508. 



Fig. 507. 



thumb draw the right thumb string across the index fingers on the near side of the 
other three strings (Fig. 509). 

There are now four strings passing over the sides of the index fingers : On the 
right hand, the near string passes over the index and middle fingers and out between 
the middle finger and the ring finger. The two middle strings pass around the 




Fig. 509. 



index only, and the far string passes around all the fingers closed on the palm ; on 
the left hand, the near string and the far string pass around the index only, and of 
the two middle strings, the near one passes over both index and middle fingers and 



226 



STRING FIGURES 



out between the middle finger and ring finger, and the far one passes around all 
the fingers closed on the palm (Fig. 510). 

Fourth : Hold the index fingers back to back with their tips pointing toward you 
and push toward you with each thumb (out to the tip of the index) the string which, 




Fig. 510. 

crossing the index and middle fingers, passes between the middle and ring fingers 
(Fig. 511). Hold all the strings on the index fingers by pressing down the thumbs* 
Withdraw each middle finger, away from you, entirely out of the hanging loops, 
and insert it again, toward you, between the other hanging strings and the hanging 
part of the string held toward you on the tip of the index (Fig. 512). Draw each 
of these latter strings away from you through the hanging loops by straightening 




Fig. 511. 



the middle finger (Fig. 513). Then pass each thumb away from you, above the 
ring finger and under the string which is still held to the palm by the ring and 
little fingers (Fig. 514). The strings are thus released from the index fingers. 
Release the string held down by each ring and little finger; separate the hands, with 



A WORM 



227 




Fig. 512. 




Fig. 513. 




Fig. 514. 



228 



STRING FIGURES 



the palms turned away from you, and extend the figure between the thumbs and 
middle fingers (Fig. 515). 

This figure has several novel movements; the Third and Fourth are rather hard 
to learn, but should present no difficulties in execution. With practice the figure 
can be formed rapidly and with certainty. The pattern produced by the opening 




movement is very like the pattern produced by the opening movement of the " Bow" 
but the lower straight string passes on the near side of the near thumb strings, and 
not on the far side of them. 



TWIN STARS 



** 



I collected this figure in the same way as the preceding figure. There are two 
examples of this pattern in the Philadelphia Free Museum of Science and Art, 
collected by Mr. Stewart Culin; No. 22715 is a Navaho figure, from St. Michael's 
Mission, Arizona, called Sono-tsihu = Twin Stars; No. 22606 is from Zuni, N. M., 
called Pi-cho-wai, wai-lo-lo = Lightning ; it has been artificially distorted. 

First : The same as the First movement of "The Bow." 

Second : Transfer the index loops to the thumbs, by putting each thumb from 
below into the index loop returning the thumb to its position, and withdrawing the 
index (Fig 516). Keep the two loops on the thumb well separated; the loop taken 
from the index up at the tip. 

Third : Bend each index toward you and down through the upper thumb loop, 
and then down to the far side of the lower far thumb string; take up on the back of 
the finger this lower far string (Fig. 517, Left hand), and lift it up on the tip of the 
finger as you straighten the latter to its position (Fig. 517, Right hand). 



TWIN STARS 



229 



Fourth : Pass each middle and ring finger from below (that is, toward you) 
through the lower thumb loop, and catch between these fingers the upper near thumb 
string (Fig. 518), and draw it away from you through the lower thumb loop; 
then, hooking the middle finger over the string, release the loops from the thumbs, 




Fig. 516. 




Fig. 517 




23° 



STRING FIGURES 



and turn the palms away from you (Fig. 519). The figure becomes extended 
between the index fingers and the middle fingers closed on the palms. 

There is not much to this figure. The final pattern is almost exactly like the 
"Two Diamonds" of the Osage Indians, if that figure be formed with a single string 




Fig. 519 



loop. The Fourth movement is a characteristic Navaho method, which, as we 
shall see, forms the most important part of the " Storm Clouds." 



A LIZARD 




This figure also was shown to me by the same two Navaho girls, at the St. 
Louis Exposition, in November, 1904. An example of the finished pattern collected 
by Mr. Culin at St. Michael's Mission, Arizona, and preserved in the Philadelphia 

Free Museum of Science and Art 
(No. 22721) is labelled Nashoi- 
dichizhi = a Lizard. At Grand 
Canyon, Arizona, I saw a Navaho 
Indian form the "Lizard"; he 
secured the results of the First 
movement, however, by simply ex- 
changing the index loops after the 
"Bow" Opening. 




Fig. 520. 



First : This movement is a slight 
modification of the opening move- 
ment in "The Bow." Hold the 



A LIZARD 



231 



loop between the thumb and index of each hand so that a short piece of string 
passes from hand to hand and a long loop hangs down. In the short piece make 
a small hanging ring, by bringing the hands together and putting the part of the 
string held by the right hand away from you over the part of the string held by the 
left hand ; then give this ring one twist, by turning it around away from you from 
right to left. Put each index finger toward you and downward into the ring, and 
put the other three fingers toward you into the long hanging loop. Now, pressing 




your right thumb down on the two right hand strings passing over the right index, 
to keep them from slipping (Fig. 520), separate the hands. 

Put each thumb away from you into the loop held by the middle, ring and 
little fingers; withdraw these fingers; turn each index away from you and up, and 




turn each thumb up and toward you under the index loop, and place the hands in 
the usual position (Fig. 521). 

You now have a loop on each index and a loop on each thumb; and a loop 
is formed near the right hand by the left far index string and the left near thumb 
string passing around the string which runs from the far side of the right index to 
the near side of the right thumb. 

Second : Transfer the index loops to the thumbs, by passing each thumb from 
below into the index loop and withdrawing the index (Fig. 522) 



232 



STRING FIGURES 



Third : Pass each index toward you over the upper far thumb string, and 
then, pulling that string away from you, put the index down on the far side of the 
lower far thumb string (the far string which passes directly from thumb to thumb), 
and pick up from below, on the back of the finger, this lower far thumb string. 




Fig. 524 




LITTLE FISHES 



233 



and return the index to its position; thereby drawing the string through the upper 
thumb loop (Fig. 523). 

Fourth : Put the middle and ring fingers of each hand from below through 
the thumb loop, and catch between them the upper near thumb string (which 
passes directly from thumb to thumb) (Fig. 523), and pull it down through the 
loop with the middle finger, and hold it down by closing the finger on the palm, 
at the same time releasing the loops from the thumbs and drawing the strings tight 
(Fig. 525). The figure is extended between the ends of the index fingers and the 
middle fingers closed on the palms. The head of the " Lizard" is at the right end 
of the figure. 

If you do not keep the head of the "Lizard" small by following carefully the 
First movement you will find that the finished figure differs from the preceding 
"Twin Stars" figure, only by having the central cross strings looped around each 
other. 



LITTLE FISHES 



Wr 



Dr. Haddon taught me this figure in August, 1904. He obtained it in Murray 
Island, Torres Straits, where it is called Tup = a small Fish (Rivers and Haddon, 
p. 152). 

First : Insert the index fingers into the loop of string so that you have a short 
piece passing from hand to hand as a far index string and a long loop, the near 
index string, hanging down between each thumb and index (Fig. 526). 




Fig. 526. 



234 



STRING FIGURES 



Hold the short far index string on each side between the tips of the thumb and 
index, and form in it a small upright ring by carrying the part of the string held 
by the left hand toward you, and to the right, over the right hand string. Put 
the index fingers away from you into this ring (Fig. 527) and separate the hands. 




Fig. 527. 



You now have two loops on each index, whereof the two far strings cross each 
other, but the two near strings run straight from index to index (Fig. 528). 

Second : Bend each thumb away from you over the lower near index string 
and pick up on the back of the thumb the lower far index string, then straighten 
each thumb, bend it over the upper near index string, and pick up on the back of 



n ^ 




the thumb the upper far index string (Fig. 529), and return the thumb to its original 
position. 

Third : Turning the palms toward you, bend each little finger toward you over 
the upper near index string, and take up from below the lower near index string 
(Fig. 530, Left hand), and return the little finger to its former position (Fig. 530, 
Right hand). 




A NATIVE OF PORT MORESBY, NEW GUINEA. 
(Courtesy of Dr. A. C. Haddon.) 



LITTLE FISHES 



2 35 



Fourth : Bend each index down into the large triangle formed by the upper 
near index string and the lower near index string (the string passing from the index 




Fig. 529 




Fig. 530 




Fig. 531. 



behind the little finger and continuing as the far little finger string), and pick up 
on the back of the index (Fig. 531), by curving it toward you and then upward, 
the upper near index string. 



236 



STRING FIGURES 



Fifth : Turning the palms away from you, release the loops from the thumbs, 
and the figure is extended between the tips of the index fingers and the little fingers 
(Fig. 532). The string held by the little fingers may be drawn tight by closing the 
middle, ring and little fingers over it. Dr. Haddon says there are four fishes — the 
four double strings arranged like a W. 

The opening movement of this figure is different from any we have had so far, 
and it occurs again only in the following "Storm Clouds" of the Navaho Indians. 
In the two Bagobo Diamond figures, after Opening A, the two loops become ar- 




Fig. 532. 



ranged on the index finger, but not in the same manner as in "Little Fishes," for in 
the "Bagobo Diamonds" the upper straight string is a near index string and the 
lower straight string is a far index string; and in the "Bagobo Two Diamonds" 
it is just the reverse, the upper straight string being a far index string and the lower 
a near index string. In "Little Fishes" both straight strings are near index strings. 
You cannot, therefore, make the Bagobo Diamonds from this opening, nor can 
you form this figure by beginning as you begin the Bagobo figures. 



STORM CLOUDS 
rm (9ft mrfil 

This is a Navaho figure which I learned at the St. Louis Exposition, in Novem- 
ber, 1904. It was shown to me by the same two Navaho girls. 

Fir si : The same as the First movement of "Little Fishes." 

Second : Pass the right thumb away from you over the right lower near index 

string, and pick up from below on the back of the right thumb the right lower far 

index string, and return the right thumb to its position (Fig. 533, Right hand). 
Third : Pass the left thumb away from you over the left lower index loop and 

pick up on the back of the left thumb the left upper far index string, and return the 

left thumb to its position (Fig. 533, Left hand). 



STORM CLOUDS 



237 



Fourth : Pass the middle, ring and little fingers of the right hand from below 
into the right upper index loop; and pass the middle, ring and little fingers of the 
left hand from below into the left lower index loop (Fig. 534). Bend the middle, 
ring and little fingers of each hand toward you over the upper near index string, 
and pull this string down by closing the three fingers down on the palm (Fig. 535). 




Fig. 533. 




Fig. 535. 



2 3 8 



STRING FIGURES 



Fifth : Holding the string down with each ring and little finger, bend the middle 
finger toward you over the lower near index string (Fig. 536), and pull it in the 
bend of the finger away from you over the upper near index string; release the upper 
near index string from under the ring and little fingers (Fig. 537), and put the ring 




and little fingers toward you beside the middle finger to assist in holding down the 
lower near index string; then release the loops from the thumbs and draw the strings 
tight (Fig. 538). 

You now have one "storm cloud" extended between the index fingers and 
the other fingers closed on the palms. The central figure is symmetrical; it is a 
triangle, crossed by a straight horizontal string and sending, on each side, two 




diagonal strings to the index finger. The strings are differently arranged, however, 
on the two index fingers : On the right index, the upper far string forms the straight 
string at the top of the figure, and then becomes the lower far string on the left 
index; and the lower far string forms the right upper diagonal string. On the left 
index, the upper far string is continued toward the centre of the figure as the left 
upper diagonal string. On each side, the lower diagonal string is the upper near 
index string, and the string held down by the middle, ring and little fingers is the 
lower near index string. 



STORM CLOUDS 



239 



Sixth : Pass each thumb away from you under the lower diagonal string, then 
between the two diagonal strings (Fig. 539), and bending the thumb away from 




Fig. 538. 




Fig. 540. 



you over the upper diagonal, draw it down toward you in the bend of the thumb 
under the lower diagonal. Release the string held down by the middle, ring and 
little fingers (Fig. 540). 



240 



STRING FIGURES 



Put the middle, ring and little fingers of each hand toward you through the 
loop held by the thumb and withdraw the thumb, and close the fingers down on 
the palm (Fig. 541). 

Seventh : Pass each middle finger up on the near side of the two diagonal strings, 
and then up away from you to the far side of the upper string of the figure (formed 




Fig. 541. 



of the right upper far index string and the left lower far index string) (Fig. 542), 
and, bending the finger toward you, pull this upper string down through the loop 
held down to the palm by the ring and little fingers; then slip the ring and little 
fingers out of the loop they have been holding (Fig. 543), and put them toward you 




Fig. 542 



into the loop held by the middle finger, and close all three fingers down on the 
palm (Fig. 544). 

Eighth : With each index pick up from the far side at some distance from the 
index the straight transverse lower near index string, and straighten the index to 



STORM CLOUDS 



241 



loop the string around its tip (Fig. 545). The lower near index string can be found 
by following it carefully from the index toward the centre of the figure. The figure 




Fig. 543. 




Fig. 544. 




Fig. 545. 



now has a top string and a bottom string extending two triangles — the two " storm 
clouds" — and two strings on each side corresponding with the former diagonal 
strings. 



242 



STRING FIGURES 



Ninth : Put each thumb away from you and up on the far side of the lower 
diagonal, and then on the near side of the straight string corresponding to the 
upper diagonal (Fig. 546) ; bend the thumb away from you over this upper string, 
and pull it toward you in the bend of the thumb under the lower diagonal. Release 
the string held down by the ring and little fingers, and put these fingers toward you 




Fig. 546. 



through the loop held by the thumb, and withdraw the thumb, closing the fingers 
down on the palm. 

Tenth : Pass each middle finger upward on the near side of the two strings 
corresponding to the diagonals, and on the far side of the upper string of the figure, 
and, bending the finger toward you, pull this upper string down through the loop 
held down to the palm by the ring and little fingers; then slip the ring and little 
fingers out of their loop, and put them toward you into the loop held by the middle 




Fig. 547. 



finger, and close all three fingers on the palm, at the same time releasing the top loop 
from each index. 

Eleventh : With the right index pick up from the far side the right upper far 
index string; and with the left index pick up on the far side the left lower far index 



ONE HOGAN 



243 



string, and straighten the index fingers. This movement puts a loop around the 
tip of each index (Fig. 547). 

You now have three "storm clouds" — three triangles between the upper 
and lower strings — and two strings on each side running to the index. 

Twelfth : By repeating the Sixth and Seventh movements, releasing the top 
loops on each index, and then repeating the Eighth movement, four "clouds" can 
be formed. 

Thirteenth : By repeating the Ninth and Tenth movements, releasing the top 
loop on each index, and then repeating the Eleventh movement, five "clouds" 
can be formed. 

Fourteenth : By repeating the Twelfth movement, six " clouds" can be formed. 

Fifteenth: By repeating the Thirteenth movement, seven "clouds" can be 
formed. 

I regard this figure as the most difficult of all, because of the complication, 
introduced at the outset, by the two thumbs picking up different strings and because 
of the subsequent difficulty of finding the proper strings to pick up owing to the 
tight twists which grow around the index fingers. 

The Indian notion of "storm clouds" can be seen in the small drawing placed 
at the beginning of the game; this is copied from a Moki pictograph of "clouds 
with rain descending" (see Garrick Mallery, p. 238, Fig. 
164). The same design occurs on the Navaho blankets of 
the present day. 

ONE HOGAN 




I obtained this figure from Dr. Haddon, who has pub- 
lished a description of it (5, p. 220). He learned it in 
Chicago in 1901, from the old Navaho men who taught 
him the other Navaho figures. Hogan is the native name 
for a tent. 

First: Hold the left hand with the fingers pointing 
upward and the palm slightly toward you. With the right 
hand arrange a part of the loop upon the left hand so that 
it crosses the backs of both index and middle fingers, and Fig. 548. 

passes to the palmar side between the middle and ring fin- 
ger, and between the index and thumb ; let the rest of the loop hang down on the 
palm (Fig. 548. In this and some of the following drawings the hanging loop is 
represented as quite short, to save space). 




244 



STRING FIGURES 




VI 



Fig. 549. 



Second : Put the right index from the near side under the 
left near index hanging string, and then through between the 
index and middle finger, and with the ball of the finger pick 
up the cross string which is on the backs 
of the left index and middle finger, and 
pull it through between these fingers 
(Fig. 549), and then out to the full ex- 
tent of the string (Fig. 550). 

Third : Letting the loop hang down 
on the left palm, put the whole right 
hand from the near side under the near 
string and into the hanging loop. Then 
with the right thumb and index catch, above the string 
crossing the palmar surfaces of the index and middle finger, 
the two strings which come from between the left index and 
middle finger (Fig. 551), and draw them out to the right 
(Fig. 552) as far as possible. In this movement the loop 
which hung on the right wrist slips over the right hand and 
along the two strings just drawn out, until it reaches the palm. 
You now have on the left hand a loop on the index and a loop on the middle 
finger, both loops knotted together lower down on the palm (Fig. 553). Arrange 
the four strings which hang down on the palm below the knot so that they lie side 
by side evenly and uncrossed, with the two which pass up through the knot and 
between the index and middle finger lying in the middle between the other two. 
You will observe that the near string runs up to the knot, 
passes from the front around a cross string, comes forward, 
and passes to the far 
side as a second cross 
string over all four 
hanging strings ; it 
then passes from be- 
hind around the back 
cross string, and 
hangs down in front 
as the far string of 
the four. 

Fourth: With the 

thumb and index of 

the right hand pick 

up, below the knot, 

the near hanging string, and put it behind the left thumb; in like manner pick 

up the far hanging string, and put it behind the little finger (Fig. 554). 





Fig. 550. 



Fig. 551. 



ONE HOGAN 



245 



Fifth : With the right thumb and index pick up that straight string of the 
knot which passes in front of the four hanging strings (Fig. 555), and pull the loop 

out as far as possible; then lifting the right hand sweep 
the left hand down, with the palm up and the fingers 





Fig. 552. 

pointing to the right, and draw the 
strings moderately tight, and you get 
a hogan, or tent, with the two sticks 
coming through its peak (Fig. 556). 

This interesting figure belongs 
to the class wherein the movements 
consist chiefly of one hand arranging 
the strings on the other hand. 



Fig. 553. 



Fig. 554. 




Fig. 555. 




246 



STRING FIGURES 



AN APACHE TEEPEE 



A 



An Apache woman named Darcia Tafoya, from Jicarilla, New Mexico, taught 
me this figure at the St. Louis Exposition. 

First : Hold the left hand with the fingers pointing obliquely upward and away 
from you and with the palm facing toward you and upward. With the right hand 





Fig. 558. 



Fig. 559. 



Fig. 557. 






Fig. 560. 



Fig. 561. 



Fig. 562. 




DARCIA TAFOYA, A JICARILLA APACHE. 
(Courtesy of Mr. S. C. Simms.) 



AN APACHE TEEPEE 



247 



lay a part of the loop across the palm, and let it hang down on the left side, between 
the thumb and index, and on the right side from the right side of the palm. With 
the right thumb and index pick up together near the back of the left hand the two 
hanging strings, and bring them up toward you to the palm of the left hand, by 
passing the left string between the left index and middle finger, and the right string 
between the left ring finger and little fin- 
ger (Fig. 557); and let the two strings 
hang down on the palm. Observe that 
they cross over the palmar string 

(Fig. 558)- 

Second : Pass the index of the right 
hand under the left palmar string, and 
hook the end around the two hanging 
strings, and draw them down under the 
palmar string (Fig. 559); let them hang 
down on the left palm. Observe that now 
the palmar string crosses over the hang- 
ing strings (Fig. 560). 

Third : Put the right hand from the 
left through the far side of the hanging 
loop, and keep the loop on the right wrist. 
Put the little finger of the right hand, 
from the right side, under the right hang- 
ing string, above the palmar string (Fig. 
561); and put the right thumb, from the 
left side, under the left hanging string, 
also above the palmar string (Fig. 562). 

Draw these strings out on the right 
thumb and little finger, keeping the loop 
still on the right wrist (Fig. 563). The 
"Teepee," or tent, is formed by swinging 

the right hand down, palm upward, with the fingers pointing away from you; and 
by elevating the left hand, and turning the palm down and pointing the fingers to 
the right. 

In this figure the hand which arranges the strings on the other hand in the 
end takes up some of the strings to form the most important part of the finished 
pattern. 




Fig. 563. 



248 



STRING FIGURES 



TALLOW DIPS 

Dr. Haddon taught me this game. It is well known in Great Britain; and 
the Rev. John Gray (p. 117, figs. 1, 2 and 3) has published a description of it as 
played by the children of the Cowgate in Edinburgh. He gives 
the different movements of the figure as separate figures, namely, 
"The Bunch of Candles," "The Chair," "The Pair of 
Trousers," "The Crown." In Ireland "The Bunch of Can- 
dles" is sometimes called "The Broom." Miss Margaret A. 
Hingston (p. 147) gives the story which was current in Somer- 
set about forty years ago; the "tipstaff" is here called the 
"truncheon." 




First: The first movement of the "Apache Teepee." 
The two strings now hang down from the left hand over 
the palmar string (Fig. 564). 

Second : With the right thumb and index pick up the string 
on the left palm, between the hanging strings, pull it out 
slightly (Fig. 565), and put it over the left middle and ring 
fingers (Fig. 566). There is now a ring around the left index, 
a ring around the left little finger, and a loop hanging down on 
Fig. 564. the palm (Fig. 567). 

Third : Put the right index from above into the ring on the 
left index; and put the right middle finger from above into the ring on the left 
little finger, and draw the rings out to the right (Fig. 568) as far as possible. 

Fourth: Bend the fingers of the left hand down on the palm as follows: The 
left middle finger down into the left index loop, the left ring finger down into the 




Fig. 565. 




Fig. 566. 



TALLOW DIPS 



249 






Fig. 569 



Fig. 567. 

left little finger loop 

(Fig. 569), the left 

little finger over the 

left far little finger 

string, and the left 

index over the left Fig. 568. 

near index string. 

When the left fist is thus closed, you have a string coming 

out between the index and middle finger, two strings coming 

out between the middle and ring fingers, and a string coming 

out between the ring and little fingers. Over the backs of the fingers, at their 

bases, there is a string around the index finger, a string around both the middle and 
ring fingers, and a string around the little finger (Fig. 570). 

Fifth : With the thumb and index of the right hand pull 
up slightly the string on the backs of the left middle and ring 

fingers, and pass 
through this loop to 
the back of the hand 
the four strings com- 
ing out between the 
fingers of the left fist 
(Fig. 571); let the 
strings, pulled entirely 
through, hang down 
on the back of the 
left hand (Fig. 572). 





Fig. 570. 



Fig. 571. 



Fig. 572. 



250 



STRING FIGURES 



Sixth : With the right thumb and index pull this same loop crossing the backs 
of the left middle and ring fingers (through which you have just passed the four 
strings) over the knuckles of the middle and ring fingers (Fig. 573), and to the palm 
of the left hand ; then draw it out to the right as far as pos- 
sible, but carefully, and not too hard, at the same time 
unclosing the left fist, and (with some stretch of the 
imagination) you get the four tallow dips on the left 
hand (Fig. 574). 

The story of the tallow dips is as follows: "A 
man stole a pound of tallow dips, and bringing them 
home hung them on a peg." 

Seventh : At this point, place the loop held by 
the right thumb and index over the left thumb and, being 
careful not to twist it, let it hang down (Fig. 575). 

"And being very tired he sat down on a chair and went 
to sleep." 

Eighth: Now, pointing the right index and middle 
fingers downward, over the back of the left hand held palm down with the fingers 
pointing to the right, take up from the left side on the ball of the right index, the 




Fig. 573. 





Fig. 575. 



Fig. 574. 



TALLOW DIPS 



251 



IU LIU 

J 



loop on the back of the left middle finger, and 
take up on the ball of the right middle finger the 

loop on the back of the left 

ring finger (Fig. 576 seen from 

above), and draw the loops 

out as far as possible to the 

right. Turn the left 

hand with the palm 

upward, and "the 

chair" is formed, the 

back, by the loops 

held up by the right 

hand, the seat by the loop 

around the left thumb, and 

the four legs by the strings of 

the loops held by the left 

index and little finger (Fig. 

577). 

"It was dark when he 

woke up, so he got a pair of 

shears to cut off a tallow dip." 

Ninth: Release the loop 

from the left thumb, and you 

have the "shears" (Fig. 578). 

"While he was cutting off 
the dip a constable came to arrest him, bringing 
along his tipstaff." 

Tenth : Release the loop on 
the left index finger, and draw the hands gently apart to produce the long tipstaff, 




Fig. 576. 




Fig. 577. 




Fig. 578. 



252 



STRING FIGURES 



with the crown at the end formed by the small crossed loops on the right index 
and middle finger (Fig. 579). 

"The constable put handcuffs on the thief and marched him off to prison." 

Eleventh : Release the loop from the right index, and put the right hand through 

>.. the right middle finger loop; put the left hand through the loop 

O^ \jfi held by the left little finger. Separate the hands (Fig. 580) 

and draw the strings tight. This movement puts a loop on 

the left wrist and a slip noose on the right wrist. 

In principle, "Tallow Dips" is like the two preceding figures. It is one of 
the most important of all string figures, because of the story which goes with it. A 
careful study of its distribution in Great Britain, its varieties, and the different 
stories told while it is being played would, I am sure, be extremely interesting. 




Fig. 580. 



ONE CHIEF 



253 



ONE CHIEF 



*- 



In Uap, in the Caroline Islands, this figure is called Pilun = a Chief. Dr. 
Furness obtained it in 1902, from the native woman "Lemet." 

First: First Position. 

Second : With the thumb and index of the right hand wrap the left near thumb 
string, toward you, once around the left thumb (Fig. 581), and separate the hands. 




Fig. 581. 



Fig. 582. 



Third : With the right index take up, from below, on the back of the finger, 
the ring formed on the left thumb (Fig. 582), and separate the hands (Fig. 583). 




Fig. 583. 



254 



STRING FIGURES 



Fourth: Proceed with "Opening A," beginning by taking up the string on 
the right palm with the left index, putting the left index between the strings of the 
loop on the right index (Fig. 584) ; separate the hands (Fig. 585) ; and then take up 

with the right index the left palmar string also 
between the strings of the left index loop (Fig. 
586). Separate the hands. 

You now have a loop on each little finger, 
a loop on the left index and a loop on the right 
thumb, and two loops on the left thumb, and two 
loops on the right index (Fig. 587). Be sure that 
the upper right index loop is the one formed by 
the left near little finger and far thumb strings. 

Fifth : Take the left hand entirely out of the 
figure, and let the strings hang down from the 
right hand held with the palm down and the fin- 
gers pointing to the left (Fig. 588. In this, and 
in some of the following drawings the hanging 
loops are represented as very short, in order to 
save space). 

With the thumb and index of the left hand 
pull up slightly from the back of the right index that right index loop which is 
nearest the tip of the finger, and, removing the left thumb and index, hold it up by 
pressing the right thumb and middle finger against the sides of the right index. 
Then put the left thumb and index, from the left, through this loop, and pull up 




Fig. 584. 




Fig. 585. 



slightly, and to the left, the right index loop which is near the base of the finger, 
so that it comes through the loop already pulled up (Fig. 589) ; and hold it up by 
pressing the right thumb and middle finger against the sides of the right index. 

The left hand is still entirely free, and, in addition to the loops hanging from 
the right thumb and little finger, there are two loops standing up about two inches 



ONE CHIEF 



255 




Fig. 586. 





Fig. 588. 



Fig. 589. 



256 



STRING FIGURES 



from the back of the right index, and crossing, so that the original right loop points 
to the left and the original left loop points to the right. 

Place the left hand above these right index loops with the fingers pointing toward 

you, and insert the left little finger from 
the left side into the loop pointing to the 
right, and insert the left thumb from 
the right side into the loop pointing to the 
left (Fig. 590), and pull both loops off the 
right index by separating the hands. Turn 
the hands to the usual position with the 
palms facing each other and the fingers 
directed upward (Fig. 591). There is 
now a loop on each thumb and a loop on 
each little finger. 

Sixth : With the right thumb and in- 
dex pick up, close to the left thumb, the 
left far thumb string (Fig. 592), and take 
the loop off the thumb, turn it over toward 
you, and replace it on the thumb (Fig. 
593) ; the original left far thumb string is 
now the left near thumb string. 
In the same way pick up with the left thumb and index the right far thumb 
string (Fig. 594), take the loop off the right thumb, turn it over toward you, and 
replace it on the right thumb (Fig. 595). Separate the hands (Fig. 596). The 
thumb loop may be so reversed by using the index of the same hand. 




Fig. 590. 




Fig. 591. 



ONE CHIEF 



257 




Fig. 592. 





Fig. 593. 




Fig. 594. 



Fig. 595. 




Fig. 596. 



258 



STRING FIGURES 



Seventh : Bend each thumb away from you over the far thumb string, and 
take up, from below, the near little finger string (Fig. 597, Left hand), and return 
the thumb to its former position (Fig. 597, Right hand). There are now on each 




Fig. 597. 

hand, a lower loop on the thumb and a higher loop arranged as in the "First 
Position." 

Eighth : Take up with the tip of each index, from below, the far thumb string 
(not the string crossing the palm), keeping the near thumb strings on the thumb 
(Fig. 598), and return the index to its position. Then, holding the index strings out 




Fig. 598. 



on the tips of the fingers, and keeping the strings between the thumbs and index 
fingers in position (but so that they can slip slightly) (Fig. 599), turn the hands 
with the palms away from you. 

This movement will draw tight the little finger strings, and if the strings held 
between each thumb and index be slightly loosened, the figure will be formed (Fig. 
600). 



ONE CHIEF 



259 



The finished pattern is not unlike the pattern in "Two Chiefs," but the two 
figures are done by entirely different methods. With the exception of the Seventh 
and Eighth movements, all the others are peculiar to this figure. 

The opening of "One Chief" is a modification of Opening A and produces 
additional loops on the left thumb and the right index. We have already observed 




Fig. 599. 

that it is not uncommon, at some stage in the formation of a figure, for all the loops 
to be dropped from one hand and then new loops to be taken up again (for example 
in the Caroline Islands "Catch," "Two Chiefs," "Three Stars," and "Coral," 
the Eskimo "Mouth," the Navaho "Butterfly"); the method, however, by which 
this is done in the Fifth movement of " One Chief" is entirely novel. It is not usual 




Fig. 600. 



to find a finger loop merely turned over in such a simple way as we see it done in 
the Sixth movement. There is another Caroline Islands figure in which "Three 
Chiefs" are formed, but the native man who attempted to show it to Dr. Furness 
was so old and so shaken with palsy that he could not succeed in teaching it. 



260 



STRING FIGURES 



CAROLINE ISLANDS DIAMONDS 

Dr. Furness did not get the native name for this figure, so I have called it 
"Diamonds." It is a Natik figure obtained from "Emily," the native who taught 
Dr. Furness the "Catch." 

First : Hold the string between the thumb and the index of each hand so that a 
short piece passes from hand to hand and a long loop hangs down. In the short 





Fig. 601. 



Fig. 602. 




Fig. 603. 



CAROLINE ISLANDS DIAMONDS 



261 



piece make a small upright ring, by passing the part of the string near the right 
hand toward you over the part near the left hand. Hold the cross of the ring 




Fig. 604. 



between the thumb and index of the left hand (Fig. 601). 

teeth the upper part of the ring, and 

put both hands away from you through 

the long hanging loop, of course below 

the cross forming the bottom of the 

ring (Fig. 602). Now turn each hand 

down away from the other, then toward 

you around the hanging string of the 

same side (Fig. 603), and finally up 

between the hanging string and your 

body (but not away from you through 

the hanging loop) (Fig. 604); then 

putting the little fingers toward you 

into the ring held by the teeth (Fig. 

605), catch the sides of the ring in 

the bend of each little finger, and 

releasing the strings from the teeth, 



Then take between the 




Fig. 605. 



262 



STRING FIGURES 



separate the hands; turn the palms toward each other, and straighten the little 
fingers. Draw the strings tight (Fig. 606). You now have a loop on each wrist 
and a loop on each little finger. 

Second : Holding the loops securely on each little finger, by bending the four 
fingers on the palm, turn the hands down (Fig. 607), and let each wrist loop slip 




Fig. 606. 

off the wrist, and, as it slips, transfer it to the thumb, by catching with the back of 
the thumb the near wrist string (Fig. 608 as seen from above). Put the hands in 
the usual position. 

Third : Bend each thumb away from you over the far thumb string, and pick 
up from below, on the back of the thumb, the near little finger string (Fig. 609), 
and return the thumb to its position. 

Fourth : Pick up from below, on the tip of each index, the far thumb string 
(not the palmar string) (Fig. 610), and straighten the index. Press each thumb 




Fig. 607. 



CAROLINE ISLANDS DIAMONDS 



263 




Fig. 608. 




Fig. 609. 




Fig. 610. 



264 



STRING FIGURES 



against the index, to hold the loop you have just put on the index securely and well 
out toward the finger tip, and turn the palms away from you (Fig. 611). The 
figure is extended between the index fingers, thumbs and the little fingers (Fig. 
612). 

The methods which lead to the final extension of this figure (the Third and 
Fourth movements) are similar to those in the preceding figure (" One Chief "), but 
all the other movements are new. At first sight, the opening movement appears 




Fig. 611. 

to be a difficult and elaborate way of putting loops on the little fingers and wrists, 
but it is really the easiest and most direct method, not only of getting the loops, but 




Fig. 612. 



also of making the strings cross one another in the way required for the subsequent 
success of the figure. In only one other figure (the "Pygmy Diamonds") are the 
loops dropped from the wrists, and caught, while dropping, upon the thumbs. 



A TURTLE 
A TURTLE 



265 




This Caroline Islands figure was shown to Dr. Furness by the young Uap girl 
"Dakofel." 

First : Put the string around the upright finger of a second person, and then 
holding the strings untwisted in your right and left hands, take a second turn around 
the other person's finger with the right string. 

Second: Put both hands from below through the long loop (Fig. 613); then 
swing each hand over and to the outside of the string of the same side, around the 
string, up toward you and again through the loop (Fig. 614). This movement 




Fig. 614. 



Fig. 613. 



266 



STRING FIGURES 



puts a turn on each wrist. With the thumb and index fingers of both hands catch 
the ring which is around the finger of the second person (Fig. 615), and pull it 
toward you, and by separating the hands, the cross string of the loop, thus formed, 
comes under the original right and left strings (Fig. 616). Now let the loop slip off 




Fig. 615. 




Fig. 616. 



both wrists, and you get a second cross string over the two right and left strings, 
and a loop is held by the thumb and index of each hand (Fig. 617). 

Third : Put each hand from below through the loop held by the thumb and 
index, and with each little finger take up from below, in the bend of the finger, 
between the finger of the other person and the cross strings, the outside string of the 
two strings passing to the other person (Fig. 618). With the thumbs take up, 



A TURTLE 



267 




Fig. 617. 




Fig. 618. 



268 



STRING FIGURES 



from the near side, the far cross string (the string crossing over the four strings 
passing to the other person) (Fig. 619). Then the second person withdraws the 
finger, and you separate the hands, put them in the usual position, and draw the 




Fig. 619. 




Fig. 620. 



A TURTLE 



269 



strings tight (Fig. 620). You now have a loop on each wrist, a loop on each thumb 
and a loop on each little finger. 

Fourth : Holding the loops securely on the thumbs and little fingers, turn the 




Fig. 621. 




Fig. 622. 



hands with the fingers pointing down, and shake the wrist loops off the hands. 
Separate the hands, and restore them to their usual position (Fig. 621). 

Fifth : Pass each thumb away from you over the far thumb string, and pick 
up from below on the back of the thumb the near little finger string, and return the 
thumb to its position (Fig. 622). 



270 



STRING FIGURES 



Sixth : Pick up from below on the tip of each index the far thumb string (Fig. 
623), and pressing the thumb against the index, straighten the latter, and hold the 
string high on its tip. Turn the palms away from you (Fig. 624). 

Seventh : Swing the left hand down so that the palm is toward you and the 
fingers are directed to the right, and at the same time swing the right hand so that 




Fig. 623. 




Fig. 624. 



the palm faces away from you and the fingers point to the left. Draw the strings 
tight (Fig. 625). 

The "Turtle" has the same final pattern as the "Bagobo Diamonds" and it is 
likewise extended vertically. If the next figure, "Ten Times," be formed from 



TEN TIMES 



271: 



the "Bagobo Diamonds" it will eventually come back to the "Turtle," with simple 
loops on the thumbs and index fingers. The opening movements, although resem- 




Fig. 625. 



bling the opening movements of the "Pygmy Diamonds," are found only in this 
figure ; the later movements are like those in the two preceding figures. 



TEN TIMES 

This game is really only a continuation of the "Turtle," but I have made it 
a separate figure, provisionally, because I saw the Philippine Linao Moros at the 
St. Louis Exposition form it from another figure which I could not record, but I 
think it was the same as " Bagobo Diamonds." Subsequently I learned the figure,, 
as a part of the "Turtle," from Dr. Furness, who collected it in the Caroline 
Islands from the Uap girl " Dakofel." 



272 



STRING FIGURES 



Two persons are required for this figure, which is formed from the completed 
figure of either the Caroline Islands "Turtle" or the "Bagobo Small Diamonds," 
preferably from the "Turtle," as the strings are not so much twisted about the 



fingers. 



First: The first person holds the completed figure of the "Turtle" in front of 
him, vertically of course, and the second person faces him. The figure consists 
of a central row of three lozenges and two side rows of four triangles each. These 

triangles may be numbered first, second, 
third and fourth from below upward, and 
the rows are right and left as seen by the 
second person. 

The second person directs his left little 
finger away from him through the first 
(lower) left triangle, and his right little finger 
away from him through the first right tri- 
angle. Keeping the little fingers in these 
triangles, he now directs the thumbs away 
from him through the second side triangles, 
the right thumb of course through the right 
triangle, the left thumb through the left tri- 
angle. Turning each thumb up he directs it 
toward him through the third triangle (Fig. 
626). The first person now places his right 
little finger loop, untwisted, on the left little 
finger of the second person, and his right 
index loop, untwisted, on the right little 
finger of the second person (Fig. 627), and 
withdraws his hands entirely from the figure. 
The second person now puts his hands 
in the usual position and draws the strings 
tight. He has two loops on each thumb and 
two loops on each little finger. 

Second : The first person now puts his 
right thumb from below into the left thumb 
loops of the second person, and his left 
thumb from below into the left little finger 
loops of the second person, and takes these 
loops away from the second person on his thumbs. The second person puts his 
left thumb from below into the loops which are on his right thumb, and removes 
the right thumb, and puts his right thumb from below into the loops which are on 
his right little finger, and removes the right little finger. The figure is now drawn 




Fig. 626. 



TEN TIMES 



273 



tight on the four thumbs (Fig. 628). It consists of a central lozenge, the sides of 
which form the bases of the triangles held by the thumbs. 

Third : Each person now puts the index and middle finger of each hand, from 
below, into the triangle extended by the thumb, and then away from him over the 




Fig. 627. 




Fig. 628. 



274 



STRING FIGURES 



strings forming the base of this triangle (the corresponding side of the central lozenge) 
(Fig. 629), and pulls these strings down and toward him, letting the loops slip off 
the thumb (Fig. 630). 

Each person now puts each thumb from below into the loop held by the index 
and middle finger and withdraws these fingers. 

Fourth : Repeat the Third movement nine times. 

Fifth : The figure is now laid down, and all the fingers are withdrawn. If 
you are careful, the top half of the figure can now be lifted up and opened out like 




Fig. 629. 



a book, when it will be seen that you have again the original "Turtle" figure (Fig. 
631), from which these movements can be again repeated. 

The Moros, who showed me this figure, appeared to take great delight in 
doing it; and they were much surprised to see Dr. Furness form it from the 
" Turtle." They always repeated the Third movement nineteen times, so we might 
more properly call the figure "Twenty Times," but in the Caroline Islands it is 
universally done ten times. As a matter of fact the figure will succeed if the 
movement be done any even number of times. 



TEN TIMES 



275 




Fig. 630. 




Fig. 631. 



CHAPTER VII 



FIGURES WHICH DO NOT BEGIN WITH OPENING A . (CONTINUED) — PYGMY DIAMONDS — A MOUTH — TWO 
LITTLE BOYS RUNNING AWAY — A LITTLE FISH THAT HIDES IN THE MUD — A LITTLE BOY CARRYING 

WOOD A SECOND WORM — A BRUSH HOUSE — A SIX-POINTED STAR — THE BREASTBONE AND RIBS — 

A BIRD'S NEST — TWO BOYS FIGHTING FOR AN ARROW — FLINT AND STEEL — THE REAL CAT'S-CRADLE. 



PYGMY DIAMONDS 

A MONG the African Batwa Pygmies, from the Congo Kasai Valley, at the 
L \ St. Louis Exposition, was a bright little man, "Ottobang," who taught 
-A. .m. me this figure. 

First : Put both hands through the loop of string, up to the wrists, and take up 
between the thumb and index of each hand a short piece of the upper wrist string. 
Then make a small hanging ring in this string, by passing the string held by the right 




Fig. 632. 



hand toward you over the left hand string (Fig. 632). Turn this ring up, and 
put first the right thumb (Fig. 633) and then the left thumb (Fig. 634) away from 
you into the ring, and separate the hands (Fig. 635). 

Second: Get another person to take between the thumb and index the cross 
formed in the centre of the figure by the far thumb and near wrist strings, and 

276 




OTTOP.ANG, A CANNIBAL PYGMY, KASAI VALLEY, CONGO, AFRICA. 
(Courtesy of Mr. S. C. Simms.) 



PYGMY DIAMONDS 



277 




Fig. 633. 




Fig. 634. 




Fig. 635. 



278 



STRING FIGURES 



holding the two strings firmly, pull them away from you (Fig. 636), keeping them 
taut, or slightly relaxing them as the movements require, but not letting go until 
told to do so. 

Third : Bend each thumb down, to hold firmly in place the far thumb string, 
and draw the hands toward you (Fig. 637) through the wrist loops, keeping the 
loops securely on the thumbs (Fig. 638). 




Fig. 636. 



PYGMY DIAMONDS 



279 





28o 



STRING FIGURES 



Fourth : Turn the hands up with the palms away from you (Fig. 639, Left 
hand), and slip each hand up through the thumb loop to the wrist (Fig. 639, Right 
hand). 

Fifth : With the back of each middle finger pick up, from below, the oblique 
string passing around the two strings of the wrist loop, and return the middle 
finger to its former position (Fig. 640). 

Sixth : Turn the palms slightly toward you, and bend each middle finger down 
over the near middle finger string, and holding the middle finger loop (Fig. 641, 




Fig. 639. 



Left hand) tightly in position, draw each hand toward you through the wrist loop, 
which should be caught in passing on the back of the thumb. 

Seventh: Turn the palms toward each other; pull each middle finger loop 
further through the thumb loop, and turning the palm upward, straighten the 
middle finger outside of the thumb loop (Fig. 641, Right hand). 



PYGMY DIAMONDS 



281 




Fig. 640. 




Fig. 641. 



282 



STRING FIGURES 



Eighth : The figure is extended by spreading the thumbs and middle fingers 
widely apart and separating the hands (Fig. 642). The strings held by the second 
person are now released. 

So far as I know, this figure is the first African string game that has ever been 
described. The nature of the Batwas and their isolation in the heart of Africa 
would not lead us to expect to find among them a relatively complicated figure, 
and make any resemblances which this figure may bear to other figures doubly 




Fig. 642. 



interesting. We see at a glance that it has much in common with the " Caroline 
Islands Diamonds" and the "Turtle." The finished pattern is identical with 
the pattern formed after the Sixth movement of the Eskimo "Mouth"; hence 
you can go on and finish the "Mouth" from the finished pattern of the "Pygmy 
Diamonds." This is the only case, in my experience, where the finished pattern 
of one figure occurs as a stage in the development of another entirely different 
figure. 

A MOUTH 



I obtained this figure from Chief Zaroff, a Topek Eskimo from Alaska, in 
the Eskimo Village at the St. Louis Exposition. The native name is Rote — a 
Mouth. 

First : Put the loop on the hands in the First Position. 

Second : Pass the right index from above behind the string crossing the left 
palm, and as you draw the loop out, turn the right index away from you and upward 
(Fig. 643), to put a cross in the loop, and also bend the left index down, and 
pick up from below on the back of the finger the left near little finger string, and 
return the index to its position (Fig. 644). Release the loops from the little fingers 
(Fig. 645). You now have a loop on each index and a loop on each thumb. 



A MOUTH 



283 




Fig. 643. 




Fig. 644. 




Fig. 645. 



284 



STRING FIGURES 



Third : Turn the palms toward you, and put the middle, ring and little fingers 
of each hand, from below, up into the index loop; then bend these fingers toward 
you down over the near index string, and draw the string down and hold it by 
closing the fingers on the palm (Fig. 646, Left hand). Now put each middle finger 




Fig. 646. 



from above into the thumb loop, and draw the far thumb string against the ring 
finger, closed on the palm, by closing the middle finger also down on the palm (Fig. 
646, Right hand). 

Fourth : Keeping carefully the string on each index, bend the index toward you 
over the near thumb string (Fig. 647, Left hand) ; then, by moving the index away 
from you and upward, lift up on the tip of the finger this near thumb string, while the 
string already on the index slips over the tip (Fig. 647, Right hand). 

Fifth : Withdraw the thumbs from their loops, and let go the string held down 




Fig. 647 



by each middle finger (Fig. 648). You now have on each hand a loop around the 
index and a loop held to the palm by the closed ring and little fingers. 

Sixth : Transfer the index loops to the middle fingers, by putting each middle 
finger, from above, into the index loop (Fig. 649, Left hand), withdrawing the 
index, and returning the middle finger to its position (Fig. 649, Right hand). 



A MOUTH 



285 



Seventh: Bring the palms close together, and hang the right middle finger 
loop, without twisting it, over the left middle ringer; and hang the loop held on the 




Fig. 648. 




Fig. 649. 




Fig. 650. 



right ring and little fingers, without twisting it, on the left ring and little fingers; 
withdraw the right hand (Fig. 650). 



286 



STRING FIGURES 



Then put the four fingers of the right hand to the left, through the two loops 
hanging from the left ring and little fingers (Fig. 651), and closing the right fingers 
on the palm, take these loops off the left hand. Put the left thumb away from 
you into the two loops hanging from the left middle finger, and withdraw the middle 




Fig. 651. 



finger; now put the four fingers of the left hand toward you into these loops, and 
close the fingers on the palm, withdrawing the thumb. Draw the strings apart. 
The "Mouth" can be made to open and shut by rotating the wrist alternately 
away from you and toward you (Fig. 652). 

As I have already pointed out, the arrangement of the string into index and 
thumb loops, after the Second movement of this figure, differs from the almost 




similar arrangement after the opening in the "Bow," in that the two straight hori- 
zontal strings in this figure are both near strings, whereas in the "Bow" the upper 
straight string is the near index string and the lower is the far thumb string. If, 
after Opening A, you release the little finger loops, you get a similar figure, but 
the upper straight string is the far index string and the lower is the near thumb 
string. I do not yet know of an instance in which, in a similar figure, both straight 
strings are far strings. 



TWO LITTLE BOYS RUNNING AWAY 



287 



TWO LITTLE BOYS RUNNING AWAY 






This figure was obtained by Mr. John L. Cox, at Hampton, Virginia, from 
Emma Jackson, the Klamath Indian from Oregon. 

First : The loop of string is doubled and used throughout as a single 
string. Put the thumbs into the loop, and separate the hands. Insert the 




Fig. 654. 



left index from below into the loop, and separate widely the left thumb and 
index (Fig. 653). Put the right index, from above, down behind the strings 
which pass from the left thumb to the left index (Fig. 654), and draw the 



288 



STRING FIGURES 




Fig. 655. 




Fig. 656. 




Fig. 657. 



TWO LITTLE BOYS RUNNING AWAY 



289 



loop out, at the same time turning the right index away from you and up to 
its usual position (Fig. 655). 

Second : Give the index loops one twist, by rotating each index toward you, 
down, away from you, and up again. 

Third : Give the thumb loops one twist, by rotating each thumb away from 
you, down, toward you, 
and up again (Fig. 656). 

Fourth : Put the 
middle, ring and little 
fingers of both hands 
toward you through the 
upper triangle at the cen- 
tre of the figure, then over 
the cross strings and 
down into the lower tri- 
angle (Fig. 6.57), and 
finally close these fingers 
down on the palms (Fig. 
658). 

Fifth: Put the left 
thumb from below into the left index loop and enlarge the loop slightly. Bring 
the left thumb and index close to the right index, and pick up the right near index 
string between the tips of the left thumb and index (Fig. 659), and, without remov- 




Fig. 658. 





Fig. 659. 



Fig. 660. 



ing the right index, draw it through the loop passing around the left thumb and 
index, which is now allowed to slip off these fingers. Insert the left index away from 
you through the loop which you have been holding between the tips of the left 
thumb and index, remove these fingers and leave the loop on the left index (Fig. 660). 



290 



STRING FIGURES 



Sixth : Repeat the same movement on the thumb loops by putting the left 
middle finger from below into the left thumb loop, and then, with the tips of the 
left thumb and middle finger, drawing the right near thumb string (Fig. 661) through 





Fig. 661. 



Fig. 662. 



the loop which passes around the left thumb and middle finger, allowing this loop 
to slip off these fingers, but keeping the right thumb in its loop. Now insert the 
left thumb away from you into the loop you have been holding between the tips 
of the left thumb and middle finger, and draw the hands apart, still keeping the 
strings held to the palms (Fig. 662). 

Seventh : Take all three fingers of the right hand out of the loop they are holding 
to the palm, and put them toward you into both the right index loop and right 




Fig. 663 



thumb loop ; remove the right thumb and index, and place the thumb on top of the 
upper strings of the loop (Fig. 663). 

The "little boys" are made to run by pulling on the upper right hand strings. 

This is a curious and not very interesting figure although some of the move- 
ments are novel. The result produced by the First movement is the same as that 
produced by the opening movement of the Eskimo "Mouth." If the "boys" ap- 
pear too near the left hand they must be pushed to the right so that their "flight" 
to the left may be a little longer. 



A LITTLE FISH THAT HIDES IN THE MUD 



291 



A LITTLE FISH THAT HIDES IN THE MUD 

This is another Klamath figure secured by Mr. John L. Cox, from Emma 
Jackson, of Oregon. 

First: The same as the First movement of the "Two Little Boys Running 
Away." 

Second: Holding the fingers of the right hand close together, turn the right 
hand so that the finger tips sweep down toward you under the figure (Fig. 664), 




Fig. 664. 




Fig. 665. 



and the whole hand comes on the near side of the figure, the finger tips pointing 
upward and the palm facing toward you (Fig. 665). 

Third : Pass all four fingers of the right hand up on the near side of the left 
thumb loop and put them from below into the left index loop, so that the left near 



292 



STRING FIGURES 



index string becomes a palmar string on the right hand (Fig. 666); remove the 
left index. With the left thumb and index take hold of the palmar string of the 
loop which is on the right index (above the right palmar string) (Fig. 667), and, 
keeping the loop on the right thumb, withdraw the right hand from all the other 





Fig. 666. 



Fig. 667. 



loops (Fig. 668). Turn the right hand again so that the finger tips sweep toward 
you under the figure and point upward, the palm facing toward you (Fig. 669). 

Fourth : Pass all four fingers of the right hand from the near side (that is from 
below) into the loop you have been holding between the tips of the left thumb and 
index (Fig. 670). Release the loop held by the left thumb and index and close 
the fingers of the right hand on the palm (Fig. 671); put the left index, ring and 




Fig. 668. 



middle fingers (below the other strings of the figure) toward you into this loop 
beside the fingers of the right hand (Fig. 672). 

Fifth : Remove the right fingers from this lower loop, and hold the loop by 
bending the fingers of the left hand down on the palm; then sweep the right hand 



A LITTLE FISH THAT HIDES IN THE MUD 293 





Fig. 669. 



Fig. 670. 




Fig. 671. 




Fig. 672. 



294 



STRING FIGURES 



with the palm away from you, or in such manner that the strings of the right thumb 
loop become untwisted and parallel, and pull to the right on the right thumb loop 
until the twist in the figure is tight, but not formed into a hard knot (Fig. 673). 

Sixth: Withdraw all four fingers of the left hand from the loop (Fig. 674). 
The knot and hanging loop represent the "little Fish"; by pulling on the two left 




Fig. 673. 




Fig. 674. 



lower strings the knot comes apart and the "fish escapes into the mud"; by pulling 
on the two right lower strings the knot is drawn tighter and the "fish is caught." 

This is not a difficult figure, although the description would lead one to think 
so. The majority of the movements are new and I have not observed them in any 
other figure. 



A LITTLE BOY CARRYING WOOD 



295 



A LITTLE BOY CARRYING WOOD 



r 



This also is a Klamath Indian figure, obtained in the same way as "Two 
Little Boys Running Away." 

First : With the right thumb and index turn one string of the loop toward you 
about ten times, loosely, around the last joint of the left thumb. Then put the left 
index and the right thumb into the rest of the loop and separate the hands. Now 
put the right index, from above, behind the string which passes from the left thumb 




to the left index, and pull the loop out, at the same time turning the right index 
away from you and up to its usual position (Fig. 675). 

Second : Pass the middle, ring and little fingers of each hand from below into 
the index loop (Fig. 676), and draw the near index string down on the palm, then 



296 



STRING FIGURES 



bring the hands together and pass the left middle finger to the far side and the left 
index to the near side of the right far index string (Fig. 677), and draw this string 
to the left, between the fingers, through the left index loop and put it around the 




Fig. 677. 

tip of the left index by turning the left hand with the palm away from you. During 
this movement the original left index loop slips from the finger (Fig. 678). 

Third : Release the loop from the right index. With the right thumb and index 
take hold of the two strings of the left index loop (close to the index), and lift the 
loop from the finger; then thread this loop from above downward through the turns 




Fig. 678. 



on the left thumb (Fig. 679), and put it back on the left index, withdrawing the 
left thumb from the turns (Fig. 680). 

Fourth : Transfer the right thumb loop to the right index, by picking up from 
below on the back of the index the near thumb string, returning the index to position 
and withdrawing the thumb (Fig. 681). 



A LITTLE BOY CARRYING WOOD 



297 




Fig. 679. 




Fig. 680. 




Fig. 681. 



298 



STRING FIGURES 



Fifth : Pass the right thumb away from you into the right index loop, and, 
pulling down the near index string, pick up from below on the back of the thumb 
the upper string of the loop held to the palm by the right middle, ring and little 




Fig. 682. 



fingers. Return the right thumb to its position. Release the right index loop and 
the loop held down to the right palm (Fig. 682). Draw the hands apart, and pull 
the hanging loop up into the ball of string by drawing on the right lower thumb 
string (the one which passes under the little and ring fingers of the left hand). 
Release the loops held down to the left palm, and transfer the left index loop to the 




Fig. 683. 



left ring and little fingers, and close these fingers on the palm (Fig. 683). The 
loop hanging down represents "the boy" and the ball of string "the bundle of 
wood" he is carrying on his head. The "boy" can be pushed far to the right, 
and then made to walk to the left by pulling on the right upper thumb string. 



A SECOND WORM 



299 



A SECOND WORM 



I 



The two Navaho girls at the St. Louis Exposition who taught me most of the 
other Navaho figures taught me this one also. 

First : Put the thumbs through the untwisted loop and separate the hands. 

Second: Bend each index toward you down into the thumb loop (Fig. 684, 
Right hand), and pick up from below on the tip of the index the near thumb string 
and return the index to its position (Fig. 684, Left hand). 

Third : Bring the hands together, and pick up from below on the back of the 
right thumb the string which passes from the left 
thumb to the left index (Fig. 685), and draw out 
the loop by separating the hands (Fig. 686). 




Fig. 684. 



Fig. 685. 




Fig. 686 



3oo 



STRING FIGURES 



Fourth : With the teeth pick up, on the back of the right thumb, the right 
lower thumb loop, and draw it over the tip of the right thumb ; then draw the hands 




Fig. 687. 

away from you, so that the loop runs from the teeth to the centre of the figure (Fig. 
687). 

Fifth : Still holding the loop by the teeth, turn the palms toward you and 
upward, and bend the middle, ring and little fingers of each hand toward you, and 
put them from below into and through the thumb loop; then straightening these 




Fig. 688. 



fingers, pushing away from you with their backs the far thumb string and the near 
index string, pass them under and to the far side of the far index string (Fig. 688). 
Now pull this string down, by closing the fingers on the palm, release the loops held 
by the teeth, and draw the hands apart (Fig. 689). The figure is extended by 



A SECOND WORM 



301 



separating widely the loops held by each thumb and each index, at the same time 
holding down the lower string with the other fingers closed on the palm. 




Fig. 689. 

The first four movements of this figure are entirely new ; the last is a character- 
istic Navaho movement. 



A BRUSH HOUSE 

This figure was obtained by Mr. John L. Cox, at Hampton, Virginia, from a 
Pueblo Indian, Antonio Abeita, from Isleta, New Mexico. He called it Nathu 
= a Hut. Mr. Cox- tells me that it is also known to Emma Jackson the Klamath 
Indian, who taught him the other Klamath figures. There is a finished pattern 
of this figure preserved in the Philadelphia Free Museum of Science and Art, 
collected by Mr. Stuart Culin at Zuni, New Mexico. It is numbered 22607 and 
labelled Pi-cho-wai, ham-pun-nai = a Brush House. 

First : Put the untwisted loop on the index fingers only, and separate the hands. 
Pass each thumb from below into the index loop (Fig. 690, Left hand), bend it over 
the far index string and sweep it down, toward you, and up again (Fig. 690, Right 




Fig. 690 



302 



STRING FIGURES 



hand). In this way you put crossed loops on the thumbs and index fingers (Fig. 
691). You now have, on each hand, a far thumb string and a near index string, 





Fig. 691. 



Fig. 692. 



and a palmar string passing from the near side of the thumb to the far side of the 
index. 

Second : Put the right index from below under this left palmar string, between 
the far thumb string and the near index string (Fig. 692), and draw the loop out on 




Fig. 693 



the back of the index, at the same time giving it one twist by rotating the index 
away from you, down, toward you, and up again (Fig. 693). 



A BRUSH HOUSE 



3°3 



Third : Put the right thumb from below into the right upper index loop, and 
separate the thumb from the index in order to make the loop wider (Fig. 694). 
Now pass the left index from above through this upper loop extended on the left 




Fig. 694. 




Fig. 695. 



thumb and index, and pick up, from below (between the lower near index string 
and the lower far thumb string) on the back of the left index the right palmar 
string (Fig. 695), and draw the loop out and give it one twist by rotating the left 
index away from you, down, toward you, and up again. 



3°4 



STRING FIGURES 



Fourth : Pass the left thumb from below into the upper left index loop, and 
separate the thumb from the index in order to make the loop wider (Fig. 696). 

Fifth : Bend the right middle, ring and little fingers toward you over all the 
loops on the right hand, and close these fingers on the palm to hold the strings in 




place while you gather together, close to the left hand, between the right thumb 
and index all the loops on the left hand, by putting the right thumb below the 
loops and closing the right index down on them (Fig. 697). Now withdraw the 
left hand from all the loops, and with the right thumb and index turn the loops over, 
away from you (so that the right thumb comes on top of the loops), and put the 
left thumb and index back into the loop, as they were before (Fig. 698), except that 
now the left thumb loop goes on the left index and the left index loop goes on the 




Fig. 697. 



left thumb and the loop common to both thumb and index is now the lower loop. 
Draw the hands apart and repeat the same movement on the right hand, as follows: 
Bend the left middle, ring and little fingers toward you over all the loops on the 
left hand, and close these fingers down on the palm to hold the strings in place while 



A BRUSH HOUSE 



3°5 



you gather together, with the left thumb and index, close to the right hand, all the 
loops on the left hand, putting the left thumb below the loops and closing the left 
index down on them. Now withdraw the right hand from all the loops and with 
the left thumb and index turn the loops over, away from you (so that the left thumb 




Fig. 698. 



comes on top of the loops), and put the right thumb and index back into the loops 
as they were before, except that now the right thumb loop goes on the right index, 
the right index loop goes on the right thumb and the loop common to both right 
thumb and index is now the lower loop. 

Separate the hands and draw the strings tight (Fig. 699). The figure now 
consists of an upper string which is a single straight near index string passing on 




Fig. 699. 



either side between the two far index strings ; a lower string which is a single straight 
far thumb string passing, on each side, between the two near thumb strings; and 
double near thumb and far index strings twisted together in the centre. 

Sixth : A second person now pulls upward the twisted strings in the centre of 
the figure, while you bend each index down toward you, over the near index string 



3 o6 



STRING FIGURES 



and each thumb away from you over the far thumb string (Fig. 700), and, holding 
these strings down, you let the other strings slip off the thumbs and index fingers. 




Fig. 700. 




Fig. 701 



Now turn the hands with the palms down, and separate the thumbs widely from 
the index fingers, and the "Brush House" is formed (Fig. 701). 

This is a very pretty figure and many of the movements are novel; the Sixth 
is of particular interest because it is just the reverse of the usual "Navaho move- 
ment," the thumb and index loops being drawn through the loop common to both 
thumb and index. 



A SIX-POINTED STAR 



307 



A SIX-POINTED STAR 

Mr. Cox also secured this figure from the Pueblo Indian, Antonio Abeita, 
from Isleta, New Mexico. It is known to the Klamath Indians. A finished 
pattern preserved in the Philadelphia Free Museum of Science and Art (No. 25730), 
collected by Mr. Stuart Culin from the Tewas at Isleta, is labelled pah-rhu-la = 
a Star. 

This figure is formed from the "Brush House," by the second person releasing 
the loops which he has been holding up, and pulling out in opposite directions the 
straight strings at the sides of the figure (Fig. 702). 




Fig. 702. 



3 o8 



STRING FIGURES 



THE BREASTBONE AND RIBS 




I learned this figure from the same Eskimo, Chief Zaroff, who showed me 
the "Mouth." The native name is Grut = the Breastbone and Ribs. 

First : Lace the string between the fingers of each hand, so that it passes behind 
the thumb, the middle finger and the little finger and across the palmar surface of 




Fig. 703. 





Fig. 704. 



Fig. 705. 



THE BREASTBONE AND RIBS 



3°9 



the index finger and of the ring finger. The near thumb string and the far little 
finger string pass straight from hand to hand (Fig. 703). 

Second: With the right index take up, from below, the string on the palmar 
surface of the left index (Fig. 704) and separate the hands. With the left index 




Fig. 706. 



take up from below, between the strings of the right index loop, the string on the 
palmar surface of the right index and separate the hands. 

Third : With the right ring finger take up, from below, the string on the palmar 
surface of the left ring finger (Fig. 705) and separate the hands. With the left 




Fig. 707. 



ring finger take up, from below, between the strings of the right ring finger loop, 
the string on the palmar surface of the right ring finger and separate the hands. 
There is now a loop on every finger of each hand (Fig. 706). 

Fourth : Put each thumb from below into the index loop, and separate the thumb 
from the index (Fig. 707). With the teeth draw the original thumb loop, of each 



3io 



STRING FIGURES 



hand in turn, up over the loop passing around both thumb and index, and, slipping 
it entirely off the thumb, let it drop on the palmar side (Fig. 708). 

Fifth : Pass each thumb away from you over the far thumb string and both 
strings of the index loop, and take up from below, on the back of the thumb, the 




Fig. 708. 

near middle finger string and return the thumb to its position (Fig. 709). With 
the teeth draw the lower thumb loop, of each hand in turn, up over the loop just 
taken on the thumb, and, slipping it off the thumb, drop it on the palmar side 
(Fig. 710). 

Sixth : Pass each thumb away from you over the thumb, index and middle 
finger loops, and take up from below on the back of the thumb the near ring finger 




Fig. 709. 



string, and return the thumb to its position (Fig. 711). With the teeth draw the 
lower thumb loop, of each hand in turn, up over the upper thumb loop (the loop 
you have just taken on the thumb), and, slipping it off the thumb, drop it on the 
palmar side (Fig. 712). 



THE BREASTBONE AND RIBS 



3 11 




Fig. 710. 




Fig. 711. 




Fig. 712 



3 i2 STRING FIGURES 

Seventh : Pass each thumb away from you over the thumb, index, middle 
finger and ring finger loops, and take up from below, on the back of the thumb, 
the near little finger string and return the thumb to its position (Fig. 713). With 
the teeth draw the lower thumb loop, of each hand in turn, up over the upper 




Fig. 713. 

thumb loop (the loop you have just taken on the thumb), and slipping it off the thumb 
drop it on the palmar side (Fig. 714). 

Eighth : Pass each thumb away from you over all the strings except the far 
little finger string, and pick up on the back of the thumb this far little finger string 
and return the thumb to its position (Fig. 715). With the teeth draw the lower 




Fig. 714. 

thumb loop, of each hand in turn, up over the upper thumb loop (the loop you have 
just taken on the thumb), and slipping it off the thumb drop it on the palmar side 
(Fig. 716). 

Ninth : Transfer the thumb loops to the little fingers, by bending each little 
finger toward you and putting it from above down into the thumb loop; and then, 



THE BREASTBONE AND RIBS 



3*3 



picking up on the back of the finger the near thumb string (Fig. 717, Right hand) 
return the little finger to its position as you withdraw the thumb (Fig. 717, Left 
hand). 

Tenth : Pick up with the teeth the middle of the nearest straight string which 
runs from hand to hand (it usually hangs down, and is the lower of the two strings 




Fig. 715. 




Fig. 716. 




Fig. 717 



314 



STRING FIGURES 



which, on each side, form a loop around the near index string). Draw this string 
toward you, and still keeping the loop between the teeth, extend the figure by 
drawing the hands away from you, with their palms toward each other and the 
fingers directed away from you. 

I have found it more convenient, after the figure has been extended, to release 
the loop held by the teeth and hold it between the tips of the extended thumbs 
(Fig. 718). 

In this Eskimo figure, the movement which we have regarded as the most 
characteristic "Navaho movement" (slipping a lower loop over an upper loop and 




Fig. 718. 



then off the finger) reaches its maximum development; indeed there is little else 
in this figure than a constant repetition of this movement. 

To take the string off the hands without tangling it, release the loop held by the 
teeth, remove the upper loop from each little finger, and draw the hands forcibly 
apart. The simple loop can then be dropped from the fingers. 



A BIRD'S NEST 



This figure was shown me by the two Navaho girls from Gallup, New Mexico. 

First : Arrange the loop of string in the "First Position" on the left hand, and 
as a single, uncrossed loop around the little finger of the right hand. Draw the 
strings tight (Fig 719). 



A BIRD'S NEST 



3i5 



Second : Put the thumb and index of the right hand, from above, behind the 
string crossing the left palm, and draw the loop out to the right (Fig. 720), at the 
same time by widely separating the right thumb and index, and turning the hand up 
to its usual position, you put a crossed loop on each of these fingers (Fig. 721). 




Fig. 719. 




Fig. 720. 




Fig. 721. 



3i6 



STRING FIGURES 



Third : With the left index pick up from the right index, from below and on 
the far side of the right near index string, the right far index string (which passes 
to the near side of the right thumb) (Fig. 722), and separate the hands. 

Fourth : Bend each thumb away from you over the far thumb string and over 




Fig. 722. 




723. 



the index loop, and pick up from below, on the back of the thumb, the near little 
finger string, and return the thumb to its original position (Fig. 723). 

Fifth : Bend each middle finger toward you over the index loop and the string 




which crosses the palm, and take up, from below, on the back of the middle finger, 
the far thumb string (not the palmar string) (Fig. 724, Left hand), and return the 
middle finger to its position (Fig. 724, Right hand). 

Sixth : Release the loops from the thumbs and little fingers, and extend the 
figure by keeping the middle finger loops up on the tips of those fingers, and by 



TWO BOYS FIGHTING FOR AN ARROW 



3 J 7 



pulling each far index string down to the palm with the ring and little fingers, at 
the same time drawing each near index string toward you with the thumb (Fig. 725). 




Fig. 725. 



The first three movements of this figure are new, and do not occur in any other 
figure ; of these the Second is particularly interesting. 



TWO BOYS FIGHTING FOR AN ARROW 



** 



The Klamath Indian, Emma Jackson, who taught Mr. John L. Cox the other 
figures, also showed him this one. 

First : Put each hand completely through the untwisted loop. Bend each little 
finger down toward you, and pick up from below on its back the near wrist string, 
and return the little finger to its position (Fig. 726). Bend each thumb away from 




Fig. 726. 




3x8 



STRING FIGURES 



you, and pick up from below on its back the far wrist string, and return the thumb 
to its position (Fig. 727). With the right index pick up, from below, both strings 





Fig. 727. 



on the left palm just where they cross (Fig. 728), and separate the hands; with 

the left index pick up, from below, 
both strings on the right palm just 
where they cross, and separate the hands 
(Fig. 729). 

Second: With the right thumb and 
index pick up the string on the back of 
the left wrist, lift it over the tips of all 
the left fingers, and let it drop on the 
palmar side. With the left thumb and 
index pick up the string on the back of 
the right wrist, lift it over the tips of 
all the right fingers, and let it drop on 
the palmar side. 

Third: Draw the hands slightly 
apart to separate the two strings which 
cross over the figure parallel with the 
palms (Fig. 730). Bend each index 
down over the cross string of the same 
side, and draw the string toward the 
palm in the bend of the finger; allowing 
the two index loops to slip over the 
Fig. 728. knuckles and off the finger (Fig. 731). 




TWO BOYS FIGHTING FOR AN ARROW 319 




Fig. 729. 




Fig. 730. 




Fig. 731. 



320 



STRING FIGURES 



Fourth : A second person now holds lightly a small piece of stick (a match for 
example) down into the centre of the figure (Fig. 732); if you now quickly let go 




Fig. 732. 



the loops held by the index fingers, which represent the "boys," the stick, or 
"arrow," may be caught or snapped away. 

This figure is interesting because of the opening movement, a modification of 
Opening A, which does not occur in any of the other figures. 



FLINT AND STEEL 

In the Caroline Islands this figure is called Nifi = Flint and Steel. Dr. Fur- 
ness obtained it from a Uap boy named "Gwotomw." 

First : First Position, with the loop doubled and used throughout as a double 
string. 

Second : Put the right thumb, from above, behind the strings on the left palm 
(Fig. 733), and separate the hands, turning the right thumb toward you, and up- 
right (Fig. 734). 

Third : Pass the left thumb away from you, and pick up from below on its back 
the near little finger strings, and return the thumb to its position (Fig. 735). 

Fourth : Bend each index down, and pick up from below the far thumb strings 
(not the palmar strings), and hold them up on the back of the last joint of the index 
(Fig. 736). 




TWO UAP BOYS. THE ELDER IS GUMAUN. 
(Courtesy of Dr. William Henry Furness, 3rd.) 



FLINT AND STEEL 



321 




Fig. 733. 



Fig. 734. 




Fig. 735. 




Fig. 736. 



322 



STRING FIGURES 



Fifth : Turn each thumb down toward the opposite thumb, and then toward 
you, under the straight strings passing from thumb to thumb, and back to its former 
position (Fig. 737). 

Release the loops from the little fingers, and draw the strings tight (Fig. 738). 




Fig. 737. 



The hands are now in their usual positions; the thumbs, separated from the 
index fingers, are directed toward you. 

Sixth : Keeping the loops securely on the fingers, turn the right hand so that 
the right thumb passes under the figure; the palm is directed away from you, the 
fingers pointing upward; now turn the left hand with the palm away from you, 




Fig. 738. 



and move it so that the finger tips sweep away from you, down (Fig. 739), and then 
under the figure toward you and upward. Carry the left hand to the right as far 
as possible, without moving the right hand, crossing the left wrist over the right 
wrist- draw the strings tight with the hands having their backs directed toward 
each other (Fig. 740), the right palm directed to the left, the left palm directed to the 
right, and the thumbs pointing upward. This movement should be done quickly. 



FLINT AND STEEL 



3 2 3 



The "fire" is supposed to lie between the thumb and index of the left hand. 
If a native were doing the figure, he would tell you to blow out the fire, and when 
you did so, bringing your head near his left hand, he would bring the thumb and 
index of each hand together quickly; the fire would 
surely be out, but your nose would be in — between his 
left thumb and index. 

In this figure we have a new opening and a new 
method of extension. The finished pattern closely re- 
sembles the pattern of the " Osage Two Diamonds" ; there 
are slight differences, however, in the crossing of the 
strings. 

In the fifth volume of the Reports of the Cambridge 
Anthropological Expedition to Torres Straits, page 17, 
Dr. Haddon gives a legend which is 
of interest in connection with this game. 

"The Origin of Fire 

" Eguon, described as a large bat, 
is fabled to have introduced fire to 
Mawata. A legend goes that a tribe 
once inhabited Nalgi (Double Island), 
one of whose members showed fire to 
come from the left hand, between the thumb and forefinger, whereupon dissension 
arose and the people were all transformed into animals, birds, reptiles, fish 





Fig. 740. 



(including dugong and turtle). Eguon found his way to Mawata, the others 
to different places in the Straits and New Guinea. There appears to have 
been some friendly arrangement among the snakes whereby some took to the 



324 STRING FIGURES 

land and others to the water. This legend was originally published by Mr. E. 
Beardmore, in his paper on 'The Natives of Mowat, Dandai, New Guinea' {Journal 
0} the Anthropological Institute, xix, 1890, p. 462). I have quoted this as it is 
primarily a Torres Straits tale. The plucking of the first fire from between the 
thumb and forefinger is a widely spread myth in the Straits." 



REAL CAT'S-CRADLE 

As Dr. Haddon has pointed out, the familiar game of cat's-cradle probably 
had its origin in Asia whence it was introduced into Europe; it has also spread to 
some extent among the Asiatic islands. It is well known in China, Korea, Japan, 
the Philippines and Borneo; and it may be known in Java, Celebes, and Australia. It 
is apparently unknown in Micronesia, Melanesia, Polynesia, and to the Amerinds. 
In Europe it is recorded from Austria, Germany, the Netherlands, Denmark, Swe- 
den, Switzerland, France, and England. From France it has spread into Northern 
Africa, for Dr. W. H. Furness found several little Arab girls in the tapestry school in 
Algiers who played it exactly as we do; they learned it in a French school. Of 
course it is probably known in all parts of the world which have felt the influence of 
European culture. 

We have not been able to find any record of the time or manner of its intro- 
duction into England, but this must have happened within comparatively recent 
years as there are no references to it in the older literature. Moreover, no satis- 
factory explanation of the name "cat's-cradle" has ever been given; its other name, 
"cratch-cradle," may refer to the two important stages of the game: the "manger" 
(a cratch) and the "cradle." 

In Southern China cat's cradle is known as Kang sok == Well rope ; in Swatow 
the name means " Sawing wood." In Korea it is called Ssi-teu-ki = Woof-taking ; 
and in Japan, Aya ito tori = Woof pattern String-taking. In Germany it has 
various names : Abheben = Taking-off, Faden-abheben = Taking-off strings, 
Fadenspiel — String game, Hexenspiel — Witch's game, and Auf- und Abnehmen 
= Picking-up and taking-off. In Holland it is known as Afpakken : Dradenspel = 
Taking-off : String game ; in France and Algeria as la scie. 

Two persons and one loop of string are required for the game of " Real Cat's- 
Cradle," which is played by the persons alternately taking the string off each 
other's hands to produce eight definite figures which have been given distinctive 
names, as follows: 1, Cradle; 2, Soldier's Bed; 3, Candles; 4, Manger; 5, Dia- 
monds; 6, Cat's Eye; 7, Fish in a Dish; 8, Clock. For convenience in describing 
the game the players will be called " A " and " B." The terms "near," "far," 
" right," and " left " describe the position of the strings as seen by the person from 
whose hands the figure is being taken. 



REAL CAT'S-CRADLE 



3 2 5 



(1) Cradle 

Synonym : Sang-tou-tou-ki = cover for a hearse (Korea) ; le berceau (France) ; 
Wasser (Brabant). 

First : " A " takes the string and passes the four fingers of each hand through the 
untwisted loop, and separates the hands ; then with the thumb and index of the right 
hand he turns the left near string away from him across the left palm, and then 
toward him across the back of the left hand, bringing the string to the right between 




Fig. 741. 

the left thumb and index. In the same manner, he turns the right near string once 
around the right hand. There are now two strings across the back of each hand 
and a single string across each palm. • 

Second: Opening A (picking up the palmar string with the middle finger). 
There is now a loop on each middle finger and two strings across the back of each 
hand; the "Cradle" being formed by a straight near string, a straight far string, 
and the crossed strings of the middle finger loops (Fig. 741). 

(2) Soldier's Bed 

Synonyms: Pa-tok-hpan = chess board (Korea); nekomata = a mountain cat 
into which a domestic cat is supposed to transform itself (Japan); die Schere 
(Brabant) ; les ciseaux (France) ; church window (England) ; fish pond (America). 

"B" puts his left thumb away from "A" under the right near middle finger 
string and his left index away from "A" under the left near middle finger string, 
and then, by bringing the thumb and index together, picks up between their tips 
the two near middle finger strings just where they cross at the near side of the 
figure. In the same manner he picks up the two far middle finger strings, by 
putting the right thumb toward "A" under the right far middle finger string, and 
the right index toward " A " under the left far middle finger string, then bringing 



326 



STRING FIGURES 



the thumb and index together to hold the two strings where they cross at the far 
side of the figure. Now separating his hands, drawing the right hand away from 
"A" and the left hand toward "A" (Fig. 742) he carries the thumb and index 
of each hand, still holding the strings, around the corresponding side string of the 




Fig. 742. 

figure and up into the centre of the figure (Fig. 743) ; then by drawing his hands 
apart and separating the index fingers widely from the thumbs he removes the figure 
from "A's" hands and extends the "Soldier's Bed" (Fig. 744). There is a loop 
on each thumb, a loop on each index, and a string passing across the backs of the 
thumb and index of each hand. The figure is formed of the four finger loops crossing 
in the middle, a straight near string and a straight far string. 

(3) Candles 

Synonyms: Tjye-ka-rak = chopsticks (Korea) ; Koto = a musical instrument, 
or geta no ha = the two pieces of wood under the sole of clogs (Japan) ; mirror 
(Denmark); les chandelles (France); die Geige (Brabant). 

"A" inserts his left index from above into the left thumb loop, near the centre 
of the figure, and his left thumb from above into the right thumb loop and then, 



REAL CAT'S-CRADLE 



3 2 7 



bringing the thumb and index together, picks up between their tips the near thumb 
strings just where they cross. In like manner, by inserting the right thumb from 




Fig. 743. 




Fig. 744. 



above into the right index loop and the right index from above into the left index 
loop, he picks up the two far index strings where they cross. He then separates 
the hands — drawing the right hand away from "B" over, and past, the far straight 



328 



STRING FIGURES 



string, and the left hand toward "B" over, and past, the near straight string (Fig. 
745) ; and finally puts the thumb and index of each hand (still holding the strings) 




Fig. 745. 



under the corresponding side string and from below into the centre of the figure, 
when, by drawing the hands apart and separating the index fingers widely from the 
thumbs he takes the figure from "B's" hands (Fig. 746). There is a loop on each 




Fig. 746. 



REAL CATS-CRADLE 



329 



thumb, a loop on each index, and a string passing across the backs of the thumb 
and index of each hand; the " Candles" being formed by a straight single far thumb 
string, a straight single near index string, and straight double far index and near 
thumb strings. 



(4) Manger 

Synonym: The inverted cradle (England); die Wiege (Brabant). 
"B" turns his left hand with the palm facing upward, and takes up in the bend 
of the little finger the near index string, and draws it over the strings toward "A"; 




Fig. 747. 



then turning his right hand with the palm up he takes up in the bend of the right little 
finger the far thumb string, and draws it over the other strings away from "A" 
(Fig. 747). Closing the little fingers on the palms, he passes the left thumb and 
index from the near side under the two near thumb strings and up on the far side 
of them, and at the same time passes the right thumb and index from the far side 



33° 



STRING FIGURES 



under the two far index strings and up on the near side of them (Fig. 748). Then, 
drawing the hands apart, and separating the index fingers widely from the thumbs, 
he takes the figure from "A's" hands (Fig. 749). He now has two strings passing 




Fig. 748. 




Fig. 749. 



across the backs of the thumb and index of each hand and a loop held to the palm 
by each little finger. The form of the "Manger" is the same as that of the "Cra- 
dle" only inverted. 



REAL CAT'S-CRADLE 



33 1 



(5) Diamonds 

Synonym: Soldier's Bed again (England); les carreaux (France). 

"A" now takes the "Manger" from "B's" hands in the same way as "B" 
took the "Cradle" from his hands, but the thumb and index of each hand (holding 
between their tips the two crossed strings) are brought up around the corresponding 




Fig. 750. 




Fig. 751. 



side string and down into the centre of the figure (Fig. 750) ; then, when the hands 
are drawn apart and the thumbs and index fingers widely separated, he forms a 
figure exactly like the " Soldier's Bed" but it is held with the fingers pointing down- 
ward (Fig. 751). 



332 



STRING FIGURES 



(6) Cat's Eye 

Synonyms : Soi-noun-kal = Cow's Eyeball (Korea) ; umano me = Horse-eye 

(Japan); diamonds (England). 
"B" takes the figure from "A's" hand in the same way as "A" took the 
"Soldier's Bed" from "B" to form the "Candles" (Fig. 752); but, although he has 




Fig. 752. 

a loop on each thumb, a loop on each index, and a string passing across the backs 
of both thumb and index, instead of getting the same figure as the "Candles," the 
"Cat's Eye" (Fig. 753) has two straight near thumb strings, two straight far index 
strings and crossed far thumb and near index strings forming a central lozenge and 
four triangles, produced by the thumb and index loops, which may be called the near 
and far right, and near and far left triangles. 



(7) Fish in a Dish 

Synonyms: Tjyel-kou-kong-i = Rice-mill Pestle (Korea); tsuzumi = a Musical 

Instrument (Japan). 
"A" inserts the right index from above into the far left triangle, and his right 
thumb from above into the far right triangle, his left index from above into the near 



REAL CAT'S-CRADLE 



333 



left triangle and his left thumb from above into the near right triangle; then turning 
the thumbs and index fingers up into the central lozenge (Fig. 754), he draws his 
hands apart, separates the index fingers widely from the thumbs, and takes the 




Fig. 753. 




334 



STRING FIGURES 




Fig. 755. 




Fig. 756. 



REAL CAT'S-CRADLE 335 

figure from "B's" hands (Fig. 755). The "Fish in a Dish" consists of a large 
central lozenge, divided lengthwise by two straight strings; and right and left 
near and far triangles. There is a loop on each thumb and a loop on each index, 
but no string passing across the backs of both thumb and index. 

(8) Clock 

My father, Dr. Horace Howard Furness, tells me that as a child he ended the 
game of Cat's-cradle by forming the "Clock" from the "Fish in a Dish," in the 
following manner: 

First : " B " arranges the two strings which pass from side to side through the 
central lozenge so that, uncrossed, they can easily be separated into a near string 
and a far string. 

Second: "B" now turns his left hand with the palm facing upward, and picks 
up in the bend of the left little finger the near string which passes through the 
central lozenge, and draws it over the other strings toward "A"; then turning the 




Fig. 757. 

right hand with the palm facing upward he picks up in the bend of the right little 
finger the far string which passes through the central lozenge, and draws it over the 
other strings away from "A" (Fig. 756). Putting the right thumb from above 
into the right far triangle, the right index from above into the left far triangle, the 
left thumb from above into the right near triangle, and the left index from above 
into the left near triangle, "B" turns the thumb and index of each hand toward the 
centre of the figure and up into the central lozenge (Fig. 757), when, by drawing the 



336 



STRING FIGURES 



hands apart, and separating the thumbs widely from the index fingers, he takes the 
figure from "A's" hands (Fig. 758). 

When the figure is held vertically it is supposed to represent a tall clock. 

The "Real Cat's-cradle" is capable of some variation: The Philippine Linao 
Moros at the St. Louis Exposition always passed from the (6) "Cat's Eye" back 
to the (4) "Manger" without any intervening steps, as follows: The "Cat's Eye" 
is on "A's" hands. "B" picks up in the bend of his right little finger the string 




Fig. 758. 



which passes between "A's" left thumb and index, and lifts that string off "A's" 
left index only; in like manner he picks up in the bend of his left little finger the 
string which passes between "A's" right thumb and index, and lifts that string off 
"A's" right thumb only; then, still holding each string in the bend of the little finger, 
"B" puts his right thumb and index (held close together) down into the figure, near 
"A's" left hand, and then up into the central lozenge, and thus picks up from below 
on these fingers the crossed strings of that side; in the same way "B" puts his 
left thumb and index down near "A's" right hand and then up into the central 
lozenge, and thus picks up from below on these fingers the crossed strings of that 
side. The figure is now taken off "A's" hands and extended as the "Manger." 
This may be the way that the Koreans, according to Dr. Weir, pass from the (6) 
"Cat's Eye" to the (3) "Candles." Apparently the Japanese and Koreans pass 
from the (3) "Candles" to the (6) "Cat's Eye" (see Culin, 2, p. 30), but I do 
not know how it can be done without an intervening figure. It is possible to jump 
from the (1) "Cradle" to the (3) "Candles" by picking up the crossed strings 
as if for the " Soldier's Bed," but putting the fingers down into the figure, and sep- 
arating the hands; then the " Candles " are held of course with the fingers pointing 
downward. We can pass directly from the (2) "Soldier's Bed" to the (6) "Cat's 
Eye" by picking up the crossed strings from below, bringing them around the side 
strings and down into the centre of the figure, and then separating the hands. 



CHAPTER VIII 



TRICKS AND CATCHES — A TORRES STRAITS LIZARD — HANGING — THE MOUSE — A DRAVIDIAN TRICK — A 
FINGER CATCH — A FLY ON THE NOSE — A THUMB CATCH — WILL YOU HAVE A YAM? — THREADING 
A CLOSED LOOP — A SAW-MILL. 



A TORRES STRAITS LIZARD 

THIS trick I got from Dr. Haddon, who has published a description of it 
(see Rivers and Haddon, p. 152). In Murray Island, Torres Straits, 
it is known as Monan = a Lizard ; in Mabuiag as Maita = Intestines of 
a Turtle. It was shown to Dr. Furness in the Caroline Islands by the Uap boy, 
who showed him " Carrying Money." 

First : Hold the left hand high with the palm down and the fingers pointing 
away from you, and with the right hand place the loop of string over the back of 
the left hand, and let it hang down in front of you. 

Pass the right hand away from you through the hanging loop, with the fingers 
pointing downward (Fig. 759); then turn the right hand around the right hanging 
string, by pointing the fingers to the right, then toward you, and finally upward 
(Fig. 760). Now pass the right hand to the left, between the hanging strings and 




Fig. 759. 




Fig. 760. 



337 



33* 



STRING FIGURES 




Fig. 762. 



Fig. 763. 




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HANGING 



339 



your body, beyond the left hanging string (Fig. 761), then away from you, then to 
the right around the left string (Fig. 762), and finally toward you back through the 
hanging loop (Fig. 763). 

Draw the right hand down and to the right, and it will come free from the 
noose around the wrist. 

This trick is rather hard to learn and it can be done only in the one way I 
have described. Of course you will observe that you take your right hand out 
of the loop when you finally bring it toward you apparently through the loop. 



HANGING 

I call this trick with the string " Hanging" merely because it is done around the 
neck. I saw it done by the Filipinos of the Linao Moro and Negrito tribes. Dr. 
Furness was shown it in the Caroline Islands by the girl " Dakofel." 




Fig. 764. 



First : Put your head through the loop of string, and let the rest of the loop 
hang down in front of you. 

Second : Pass the right string around the neck from the left side, draw the loop 
tight, and let it hang down in front of you. 

Third: Put the hanging loop on the hands and form Opening A, taking 
up the left palmar string first (Fig. 764). 



34Q 



STRING FIGURES 



Fourth : Pass the index loops over the head (Fig. 765) (you may release the 
loops from the little fingers to increase the size of the index loops), and remove the 
hands from the other loops. 

Fifth : A loop now hangs down in front of you, and if you pull on it, or on either 
string of it, all the strings will come off the neck. 

The reason for the strings coming off the neck, after you have apparently 




Fig. 765. 



wound them on securely, is because when you put the index loops over the head 
you reverse the direction of the strings already on the neck and they are no longer 
wound around on it. 



THE MOUSE 




This figure is probably the most widely distributed of all the string figures. I 
have seen it done by the African Batwa Pygmies, the Philippine Negritos and 
Linao Moros, and American Indians of the Chippewa, Osage, Navaho and Apache 
tribes. Dr. Haddon gives it as an Omaha string trick (5, p. 218) and says it is 



THE MOUSE 



34i 



known to the Japanese. I have been told that it is well known in Ireland. Dr. 
Haddon also met with it in Torres Straits; in Murray Island it is known as 
Kebe Mokeis = the Mouse (Rivers and Haddon, p. 152); quite recently it has been 
reported from the Wajiji in British East Africa, and from the Alaskan Eskimos. 

First : Hold the left hand with the palm facing the right and the fingers pointing 
away from you. With the right hand place the loop of string over the edge of the 
left thumb, and let it hang down over the palm and back of the left hand (Fig. 766). 

Second : Pass the right index on the near side of the left palmar string, between 
the left thumb and index, and catch the string on the back of the left hand (Fig. 
767), and pull it to the right between the left thumb and index and on the near 
side of the hanging string (Fig. 768). Do not pull the loop entirely out, but with the 





Fig. 766. 



Fig. 767. 




Fig. 768. 



342 



STRING FIGURES 



right index give it one twist away from you (Fig. 769), and put it on the left index 

(Fig. 770). 

Pull down the two hanging strings, in order to hold tight the loops on the thumb 

and index. 

Third : In the same way pass the right index on the near side of the hanging 

string (Fig. 771), between the index and middle finger, catch the string on the back 

of the hand, and draw it through between the 
index and middle finger, on the near side of the 
hanging string (Fig. 772). Give the loop one 
twist away from you (Fig. 773), put it on the 
middle finger (Fig. 774), and pull the hanging 
strings tight. 





Fig. 769. 



Fig. 770. 





Fig. 771. 



Fig. 772. 



THE MOUSE 



343 



Fourth : In the same way put a loop on the ring finger. 

Fifth : In the same way put a loop on the little finger (Fig. 775). 

Sixth : With the right thumb and index take the loop off the left thumb, and 
place it between the tips of the left thumb and index (Fig. 776), which should now 

hold it lightly. With the right hand pull 
down the string which hangs from the palmar 
side of the left hand, letting go the loop held 





Fig. 773. 



Fig. 774. 




'Fig. 775. 




Fig. 776. 



by the left thumb and index, and the entire string will come off the hand ; make a 
squeaking noise as "the mouse (the thumb loop) escapes from the cat." 



344 



STRING FIGURES 






Fig. 777. 



Fig. 778. 



Fig. 779. 




Fig. 780. 




Fig. 781. 




Fig. 782 



A DRAVIDIAN TRICK 



345 




Fig. 783. 



A DRAVIDIAN TRICK 

I obtained this trick from Dr. Haddon, in August, 1904. It was shown him 
by Dr. S. Levinstein, who learnt it in Leipzig from a travelling troup of Dravidians. 

First : Hold the left hand up with the palm to the right, and with the right hand 

put the loop over the left index 

and middle finger, so that there 

is a short palmar string across 

these fingers and two strings 

hanging down on the back of 

the left hand. (Fig. 777.) 

Second : Put the right in- 
dex up under the string on the 

left palm (Fig. 778), push it 

between the index and middle 

finger, and catch the near 

hanging string (Fig. 779), and 

draw it all the way out to the 

right between the left index 

and middle finger and under the left palmar string (Fig. 780). Let the two strings 

of the loop, formed by drawing out the string, hang down on the left palm. One of 

these strings, the nearer, is an index string and the other a middle finger string. 

Arrange them in order side by side. 

Third : Turn the left hand with the palm down and the fingers directed to the 

right. Bend the left thumb away from you 
over the hanging index string, and take 
up on the back of the thumb the hang- 
ing middle finger string (Fig. 781). Now 
put the tips of the left thumb and index 
together (Fig. 782), and with the right 
thumb and index remove the loop from the 
left middle finger (Fig. 783), and let it 
drop. Without separating the left thumb 
and index, the loop may be dropped off 
the left hand by a slight jerk, or pulled off 
by picking up with the right thumb and 
index the string which passes over the 
left index, and pulling it to the right 
(Fig. 784). This trick is interesting 
largely because it comes from India, 
Fig. 784. where as yet the field is unexplored. 




346 



STRING FIGURES 



A FINGER CATCH 

A Chippewa Chief showed me this catch at the St. Louis Exposition. Dr. 
Furness saw it done by the Uap boy who taught him " Carrying Money." 

Two persons (A and B) and one loop of string are required for this figure. 

First: "B" puts the loop around "A's" index finger and holds it, about 




Fig. 785. 




Fig. 786. 



twelve inches from " A's " finger, with his left thumb and index, being careful to 
keep the two strings uncrossed and parallel (Fig. 785). 

Second : " B " then passes his right hand palm down to the left of the strings 
(about six inches from " A's " finger) and, catching with the right middle finger the 
left hand string, draws it to the right past the right hand string (Fig. 786), and then 



A FINGER CATCH 



347 



puts the middle finger down 
between the two strings. 
Then turning the hand with 
the palm up, he puts his 
index finger from below be- 
tween the strings close to 
"A's" finger, where they 
are uncrossed (Fig. 787). 
Now turning the palm down 
again, he places the tip of 
his middle finger on the tip 
of "A's" index (Fig. 788) 
and removes his index fin- 
ger from the loop around it. 
Third: If "B" now 
pulls the strings he has been 
holding with his left hand, 
the strings will come off 
"A's" index and "B's" 
middle finger held tip to tip. 




Fig. 788. 



348 



STRING FIGURES 



A FLY ON THE NOSE 

This is an unpublished Torres Straits catch, kindly given me by Dr. Haddon. 
The native name is Bull. 

First : Hold one string of the loop between the tips of the thumb and index 
of each hand so that about six inches of the string passes from hand to hand and 




Fig. 789. 



a long loop hangs down. Then in the short piece between the hands make a small 
ring hanging down, by passing the right hand toward you and to the left and 
placing the string it has been holding, between the tips of the thumb and index of 
the left hand, on the near side of the string already held by these fingers. 



A FLY ON THE NOSE 



349 



Second : Hold the ring thus formed between the teeth where the strings cross, 
the original right hand string crossing below the original left hand string. Hold 
the long loop straight down with the left hand. 

Third : Pass the right index away from you through the long hanging loop, 
with the palmar surface facing you; then bend the finger toward you and hook it 
over the lower hanging string of the small ring held in the mouth (Fig. 789). Move 




Fig. 790. 



the right hand to the right on the near side of the right hanging string of the long 
loop, and put a twist on the loop held by the right index, by turning the finger to 
the right and up so that the palmar surface faces you. 

Fourth : Move the right hand to the left, and put the right index (with its back 
from you) away from you through the long hanging loop ; then place its tip on the 
tip of the nose (Fig. 790) ; release the loop held by the teeth, at the same time pull- 
ing down the end of the long hanging loop and protruding the tongue. The string 
should then come free from the right index. 

It is very evident that the twist you put in the right index loop (in the Fourth 
movement) untwists the cross in the ring held by the teeth. 



35° 



STRING FIGURES 



A THUMB CATCH 

I learned this catch from the same Osage Indian who taught me the Osage 
"Diamonds." I am told that it is also known in England. 




Fig. 791. 




Fig. 792. 




Fig. 793. 



A THUMB CATCH 



35i 
the left 



First: First Position, with the strings between the hands crossed 
near string passing over the right near string (Fig. 791). 

Second : Opening A, taking up the left palmar string first. 

Third : Turn each thumb away from you down into the loop on the index 
finger, and, holding securely in the bend of the thumb the far thumb string and the 




Fig. 795. 



near index string (Fig. 792), turn the hands with the fingers pointing downward 
(Fig. 793), and drop from the hands all the strings except those held by the thumbs. 
Fourth : Turn the hands with the fingers pointing upward (Fig. 794) . Separate 
the hands (Fig. 795). 



35- 



STRING FIGURES 



By reason of the cross in the string in the First Position when you release the 
loops in the Third movement and draw the hands apart, each little finger loop 
becomes a slip noose around the opposite thumb. If the cross in the First Position 
be formed by the right thumb string passing over the left thumb string, you must 
take up the right palmar string first in forming Opening A. 



WILL YOU HAVE A YAM? 

Dr. Haddon has kindly given me this unpublished Torres Straits catch. The 
native name is Lewer =■ Food. 

First : First Position. 

Second : Pass each index away from you over the little finger string and to the 
far side of it, then draw the string toward you in the bend of the index (Fig. 796, 




Fig. 796. 




Fig. 797. 



Left hand); turn the index up toward you in its usual position, thus turning the 
string around the tip of the finger (Fig. 796, Right hand). 



WILL YOU HAVE A YAM? 



353 



Third : Pass each thumb away from you under the far index string, and pick 
up from below on the back of the thumb the near index string (Fig. 797, Left hand), 




Fig. 798. 



which crosses the palm obliquely, and return the thumb under the near thumb 
string to its position (Fig. 797, Right hand). 

Fourth : Pass each little finger toward you over the far index string, and pick 
up from below on the back of the little finger the near string, which passes directly 





Fig. 799. 



from hand to hand (Fig. 798, Left hand), and return the little finger to its position 
(Fig. 798, Right hand). 

Fifth : Pass each thumb away from you, and pick up, from below, the near 
string of the figure, and return the thumb to its position (Fig. 799). 



354 



STRING FIGURES 



Sixth : Release the loop from the left index and hold it erect between the left 
index and thumb (Fig. 800). This loop represents a Yam. Offer this hand to 
another person: He says, "Have you any food for me?" You say, "I haven't 




Fig. 800. 



any," pulling the right hand strings at the same time; the "Yam" disappears and 
all the strings come off the left hand. The same can then be repeated with the right 
hand. 



THREADING A CLOSED LOOP 

This little trick is probably very widely distributed ; it has been observed among 
the Omahas, the Pawnees and the Kwakiutls; the Japanese, and the Caroline 
Islanders. Dr. Boas informs Dr. Haddon (see American Anthropologist, v, 1903, 
p. 218) that there are two shamanistic societies among the Kwakiutls, and that 
this trick is used to identify the members of one of these societies when they meet 
in the forest. The members of the other society are recognized by another trick, 
which, since it requires the use of a stick, does not fall within our subject. The 
trick has also been described from Argyleshire by Dr. R. C. Maclagan (p. 189) 
as the "thumb loop." 

First : Take a piece of string about eighteen inches long, and, holding it at the 
middle between the tips of the right thumb and index, wind a portion of one-half 
of it around the left thumb, toward the body above the thumb, and away from 
the body under the thumb, the left hand being held with the thumb and index 
pointing to the right. 



THREADING A CLOSED LOOP 



355 



Second : In the part of the string which you have been holding between the right 
thumb and index make a small loop and place it between the tips of the left thumb 
and index, so that it stands erect; hold it there and remove the right thumb and 
index. 

Third : Pick up between the tips of the right thumb and index the end of the 
other half of the string, which is hanging down from the far side of the left thumb, 
then draw it to the right (Fig. 801). Now make several passes with the right hand 




Fig. 801. 




Fig. 802. 

as if you were trying to thread the end of the right hand string through the erec 
loop held by the left hand ; finally pass the right hand to the left over the left hand, 
apparently threading the loop, but really drawing the part of the string which hangs 
from the right hand, between the left thumb and index as far as you can (Fig. 
802). The loop, which is still held by the left thumb and index, appears to have 
been threaded by the right hand string. 



356 



STRING FIGURES 



A SAW MILL 

This little string game was shown to me by a young Irish girl. 

First : Take one string of the loop between the teeth and let the rest of the loop 
hang down in front of you. 

Second: Let the right hanging string lie across the palm of the right hand 
held palm up, the fingers pointing to the left (Fig. 803) ; let the left hanging string 





Fig. 803. 



Fig. 804. 



lie across the left hand held palm up, the fingers pointing to the right. Now hold- 
ing, each string between the thumb and index, close the fingers on the palm, and put 
a loop in each string, by turning the fist so that the thumb is uppermost and then 
passing the hand between the hanging string and your body (Fig. 803, Left hand). 



A SAW MILL 



357 



Third : Exchange the loops held by the two hands, putting one loop through 
the other (Fig. 804). 

Fourth : A second person now pulls out the hanging loop, and a sawing motion 
is produced by pulling alternately the loops held by the hands and the loops held by 
the teeth and the second person (Fig. 805). 




Fig. 805. 



CHAPTER IX 

A FEW ESKIMO AND INDIAN GAMES FROM ALASKA FIGURES KNOWN ONLY FROM THE. FINISHED 

PATTERNS — NAURU FIGURES — ESKIMO FIGURES — HAWAIIAN FIGURES— A ZUNI FIGURE — AUSTRA- 
LIAN FIGURES. 

ESKIMO AND INDIAN GAMES FROM ALASKA 

DURING his recent expedition through Alaska in the interest of the Phila- 
delphia Free Museum of Science and Art, Dr. George B. Gordon kindly- 
collected for me twenty-two interesting string games of the Eskimos and 
Tanana (Athapascan) Indians. Unfortunately, this book was in type and ready for 
the press when I learned these figures, therefore I can now give only the drawings 
of the finished patterns, and a few notes concerning the methods and their relations 
to the methods used in the figures already described. Of the eighteen Eskimo 
figures, eight begin with Opening A and ten with new openings; of the four Tanana 
figures, two begin with Opening A, one with a new opening, and one with the 
opening of the Eskimo "Mouth." One of the Eskimo figures — the "Wolverine" 
or the "Wolf" — is in all respects similar to the Klamath "Porcupine," and the 
"Dog on a Leash," although beginning with a new opening, is otherwise the same 
as the "Porcupine." The "Cariboo" is precisely the same as the "Cariboo" 
described by Boas from Baffin-Land. The finished pattern of the "Trap" is 
identical with the final pattern of the Eskimo "Mouth," but is formed by entirely 
different methods. One of the Tanana games, the "Bow-String," comes out like 
the Osage "Thumb Catch," but is otherwise very different. "Crow's Feet" is the 
familiar "Leashing of Lochiel's Dogs"; the methods, however, are novel and very 
simple: Lay the loop across your lap, with the two strings parallel and uncrossed; 
pass each little finger away from you under the near string (the hands being about 
a foot apart), then pass each index from the far side toward you under the far 
string; draw this string toward you and pick up the near string on the back of the 
index, from below and from the near side. Then, sweeping each hand outward, 
pick up from the near side and from below, on the ball of the index, that part of 
the far string which, lying on your lap, extends to the right and left of the hands ; 
draw this string toward the centre and bring it up between the two strings passing 
from hand to hand, letting the loop already on the index slip off, and extend the 
figure on the index and little fingers. 

358 



ESKIMO FIGURES 



359 



Many of the methods employed in these figures are new and difficult; among 
the f amiliar ones we find Klamath and Navaho movements ; one figure begins with 
the opening of the Loyalty Islands "Well," and another with the opening of the 
"Leashing of Lochiel's Dogs." We find no instance of the typical Caroline Islands 
extension of the finished pattern, and no record of the occurrence of the " Real Cat's- 
Cradle." At Nunivak Island, the Eskimo name for a cat's-cradle string is ayahaak, 
"play string," and for the game itself, ayahowsit, "play with a string." 

ESKIMO FIGURES 

(i) "A Ship," umiakbuk (Fig. 806), from King Island, near Cape Prince of 
Wales. A further development of the figure forms "Two Men " (Fig. 807). 




Fig. 806. 




Fig. 807. 



3 6 ° 



STRING FIGURES 




Fig. 808. 




Fig. 809. 




Fig. 810. 



(2) "Two Mountains and a Stream," tituchtak (Fig. 808), from St. Michael 
Island. 

(3) "Arms," mogul (Fig. 809), from which are formed "Legs," eruk (Fig. 
810), from Nunivak Island. 



ESKIMO FIGURES 



361 




Fig. 811. 



Ml 





Fig. 812. 




Fig. 813. 



(4) "Siberian House," kochlinee (Fig. 811), and afterward "Two Eskimos 
Running Away," mugalonik enuck okparuktuk (Fig. 812), from Big Diomede Island. 

(5) "Wolverine," koftsick, from Cape Prince of Wales; also known as the 
"Wolf," kulonik. The same as the "Porcupine" (p. 137). 

(6) "Little Boat," kayak (Fig. 813), from King Island. The Eskimos say 
this figure should be called "Two Boats," malruk-kayak, because two men are 
plainly visible; and as a kayak will hold only one man there must be two boats. 



362 



STRING FIGURES 




Fig. 814. 




Fig. 815. 




Fig. 816. 



(7) " Sea-Gull," tc-c-kyack (Fig. 814), from Nunivak Island. 

(8) "Lake Fish," nanvumcheseah (Fig. 815), from Anvik, on the Yukon 
River. 

(9) " Stairs," lutumukaligat (Fig. 816), from Cape Prince of Wales. 



ESKIMO FIGURES 



363 




Fig. 817. 




Fig. 818. 




Fig. 819. 



(10) " Clothes Line," iniarat (Fig. 817), from Cape Prince of Wales. 

(11) "Rabbit," makadok (Fig. 818), from Anvik, on the Yukon River. It is 
known on St. Michael Island as "Bird on Eggs." 

(12) "Whale and Fox," achvuk-tezeuk (Fig. 819), from Cape Prince of 
Wales. The whale is stranded on the shore and the fox comes to eat it, but an 
Eskimo drives it away. 



3 6 4 



STRING FIGURES 




Fig. 820. 




Fig. 821. 



(13) " Dog on a Leash," kaymuchta (Fig. 820), from Nunivak Island. The 
leash is pulled off and the dog escapes. 

(14) "Nameless" (Fig. 821), from King Island. 

(15) "Sealskin Carrying-bag," aginuk (Fig. 822), from St. Michael Island; 
afterward are formed the "Kidneys," taktuk (Fig. 823). 

(16) "Two Ptarmigans," mugalonik-okhozgiuk (Fig. 824), from Cape Prince 
of Wales. 



ESKIMO FIGURES 



365 




Fig. 822. 




Fig. 823. 




Fig. 824. 



(17) "A Trap," keezook, from Cape Prince of Wales. The final pattern is 
the same as the "Mouth" (p. 282). The finger, caught in the trap, can be worked 
out between the strings forming the sides of the trap. 

(18) "Cariboo," tuk-tuk, from St. Michael Island. The same as the Baffin- 
Land "Cariboo" (p. 124). 



3 66 



STRING FIGURES 




Fig. 825. 




Fig. 826. 



TANANA FIGURES 



(i) "Bow-String," which comes out like the Osage "Thumb Catch" (p. 350). 

(2) "Raven's Feet" (Fig. 825). 

(3) "New Mittens," ajakailaiguk (Fig. 826). 

(4) " Crow's Feet." The same as the " Leashing of Lochiel's Dogs" (p. 1 16). 



FIGURES KNOWN ONLY FROM THE FINISHED PATTERNS 

Before it seemed possible to record the method of making string figures a 
few observers had collected the finished patterns and either made drawings of 
them or preserved the actual string figures by fastening them on paper. I have 
brought together such of these as I could obtain, in the hope that other observers 



NAURU FIGURES 



367 



will find out the method by which they are made ; with our present knowledge 
it is practically impossible to work back from the finished pattern to the opening 
movements. 



NAURU FIGURES 

These patterns are the most elaborate that have ever been collected; yet we 
are told that in other Pacific islands there are many equally complex. The follow- 
ing fifteen were secured by Mr. E. Stephen, a resident of Nauru, or Pleasant, Island 




Fig. 827. 

of the Marshall group, mounted by him on paper and presented to Dr. W. H. Fur- 
ness. They are produced with strings made of plaited human hair; in some cases the 
string is easily sixteen feet long. They are apparently formed on the hands, and 
Mr. Stephen has indicated on twelve of them the method of extension, which is 
the same as that used for the Caroline Islands " Coral," where one loop is held on 
the index (Fig. 827, II), one loop on the little finger (V), and the two middle strings 




Fig. 828. 



between the thumb and index (I and II). I am not sure of the method of extension 
of the remaining three figures. 

(1) Deimano; the hull of a ship (Fig. 827). 

(2) Representation of a mat (Fig. 828). 



3 68 



STRING FIGURES 




Fig. 829. 




Fig. 831. 




Fig. 832. 



(3).. Egona (1) and Egameang (2) sitting on a stone (3) (Fig. 829;. 

(4) Representation of a mat (Fig. 830). 

(5) Ijewaioi; a butterfly. The lower loop is held by the teeth (Fig. 831). 

(6) Egattamma; a woman (Fig. 832). 



NAURU FIGURES 



3 6 9 




Fig. 833. 




Fig. 834. 




Fig. 835. 




Fig. 836. 



(7) Representation of a mat (Fig. 833). 

(8) Etima (1) and Etowa (2); Nauru women of rank (Fig. 834). 

(9) Echeog (1) and Edawaroi (2); two women (Fig. 835). 

(10) Representation of a mat (Fig. 836). 



37o 



STRING FIGURES 




Fig. 837. 




Fig. 838. 




Fig. 839. 




Fig. 840. 




Fig. 841. 



ESKIMO FIGURES 



37i 




Fig. 843. 




Fig. 844 



(11) Iiyanibongo; a seasnake (Fig. 837). 

(12) Etaroking; a priestess of Nauru in olden times (Fig. 838). 

(13) Tinamitto; a Nauru dandy (Fig. 839). 

(14) Egarawinago; a lady of quality (Fig. 840). 

(15) Ibunemun; a man (Fig. 841). 



ESKIMO FIGURES 

Dr. Boas in his paper on Cat's-Cradle among the Eskimos of Cumberland 
Sound (1, p. 229) gives drawings of the three following figures: 

(1) Ukaliaqdjung = a Hare (Fig. 842). This figure is very like the Eskimo 
"Cariboo," turned upside down. 

(2) Amaroqdjung = a Wolf (Fig. 843). 

(3) Qaqaqdjung Sesinging = a Hill and two Ponds (Fig. 844). 



372 



STRING FIGURES 



HAWAIIAN FIGURES 

Mr. Stewart Culin has published drawings of the majority of the Hawaiian 
patterns preserved in the Philadelphia Free Museum of Science and Art (i. pp. 
222-223). I have studied these specimens carefully, but I am unable to give the 





Fig. 845. 



Fig. 846. 



methods by which they are made; a few seem to be related to stages in our ordinary 
Cat's-Cradle. Mr. Culin tells us that he obtained them from four Hawaiian 
sailors from Honolulu, named Aka (Kamehameha), Daviese Kahimoku, Wela- 
kahao, and Hale Paka (Harry Park). 

(1) Hoo-ko-mo; museum No. 21491, Culin 1, pi. xiv, e. This figure is the 
same as that produced by the "Bow" opening (Fig. 481). 

(2) E-ke-ma-nu; ace of diamonds. No. 21492, Culin 1, pi. xiii, e. This 
figure is the "Soldier's Bed" (p. 325) of the "Real Cat's-Cradle" (Fig. 845). 





Fig. 847. 



Fig. 848. 



(3) Ma-hi-ki; see-saw. No. 21494, Culin, 1, pi. xiii, d (Fig. 846). 

(4) Pou; a post. No. 21451, Culin 1, pi. xv, e (Fig. 847). This figure can 
be made from the "Bow" opening by transferring the index loops to the little 
fingers, picking up the near little finger strings with the thumbs and finally slipping 
the lower thumb loops off the thumbs. 



HAWAIIAN FIGURES 



373 





Fig. 849. 



Fig. 850. 





Fig. 851. 



Fig. 852. 





Fig. 853. 



Fig. 854. 



(5) Pau-ma-wai; a pump. No. 21449, Culin 1, pi. xiii, c (Fig. 848). 

(6) Po; darkness. No. 21495, Culin 1, pi. xiii, b (Fig. 849). 

(7) E-ke-pe-ki; ace of spades. No. 21527, Culin 1, pi. xiv, c (Fig. 850). 

(8) E-ke-ha-ka; ace of hearts. No. 21526, Culin 1, pi. xiii, a (Fig. 851). 

(9) Ma-ka-pe-na. No. 21493 (Fig- 852). 

(10) Ko-he. No. 21452. Culin 1, pi. xiv, f (Fig. 853). 

(11) Wai-u-la-wa; the breasts. No. 21496, Culin 1, pi. xv, c (Fig. 854). 



374 



STRING FIGURES 




Fig. 855. 




Fig. 856. 






Fig. 858. 



Fig. 859. 



(12) U-pe-na; a net. No. 21498, Culm 1, pi. xiv, b (Fig. 855). 

(13) O-ko-le-a-mo. No. 21512, Culin 1, pi. xiv, d (Fig. 856). 

(14) Pa-hi-o-lo; a saw. No. 21450, Culin 1, pi. xv, b (Fig. 857). 

(15) Pu. No. 21513 (Fig. 858). 

(16) Ha-le-ku-mu-ma-ka-a. No. 21 51 5 (Fig. 859). 

(17) A-ha-ma-ka. No. 21452. This figure is so distorted that I cannot make 
it out. 



AUSTRALIAN FIGURES 375 

(18) A-na-ma-nu ; a bird house. Culin 1, pi. xv, a. This figure is similar to 
the Zuni "Top cross beam of a ladder " (Fig. 860), except that the two middle 
strings are not crossed. 



A FIGURE FROM ZUNI, NEW MEXICO 

I have been able to identify most of the figures from Zufii preserved in the 
Philadelphia Free Museum. One, however, appears to be new, or is a stage in 




Fig. 860. 



the formation of another pattern : Tslem-pis-to-nai, pi-cho-wai-nai = the top cross 
beam of a ladder. No. 22609 (Fig. 860). 



AUSTRALIAN FIGURES 

Mr. Walter E. Roth (p. 10) has published drawings of the finished patterns of 
seventy-four string figures made by the different tribes of Blacks in North Queens- 
land. I have reproduced his ten plates containing these drawings in order that 
they may be compared with the figures I have described. It will be observed that, 
as a rule, these patterns are not very elaborate, and that, contrary to what we should 
expect, they are not similar to the Torres Straits figures Dr. Haddon has collected. 
Indeed, some of them are closely related to figures obtained by Dr. Furness in the 
Caroline Islands. For example: "Ten Men" (pi. vi, 7); "One Chief" (pi. v, 5); 
"Flint and Steel" (pi. vi, 3); "A House" (pi. xii, 4, 5); "Two Chiefs" (pi. iii, 
1, pi. v, 4); the second movement of "Carrying Money" (pi. x, 1). One figure 
appears to be the same as "The Leashing of Lochiel's Dogs" (pi. xii, 1); others 
resemble the "Storm Clouds" (pi. ix, 2), and the result produced by exchanging 
index loops after Opening A (pi. v, 6). It does not follow, however, that the 
figures are formed by the same movements. 

The first of Mr. Roth's plates will be found on the next page. 



376 



STRING FIGURES 




Roth's Plate III. — Mankind. Animals 



i. Two boys carrying spears. Atherton. 

2. Two women fighting with sticks. (Lower) 

Palmer River. See PI. VIII, 7, 8. 

3. Four boys walking in a row, holding each 

other's hands. Cape Grafton. 

4. Two men walking down a valley. (Three and 

four people can thus be similarly represented) 
Cape Grafton, Cape Bedford. 

5. Man climbing a tree. (The hands are raised 



to imitate the progress of the motion.) Cape 
Bedford. See PI. VIII, 8. 

6. Kangaroo. Princess Charlotte Bay, Penne- 

father River. See PI. XII, 1. 

7. Pouch: indicative of a kangaroo. Princess 

Charlotte Bay, Pennefather River. 

8. Pouch : and so, a wallaby. (Lower) Tully River. 

9. Strictly a spear (see PI. XII, 1.) but commonly 

a kangaroo speared. Cape Bedford. 



ROTH'S PLATES 



377 




Roth's Plate IV. — Animals: Quadrupeds and Birds 



1. Bandicoot: indicative of the lobular arrange- 

ment of the internal fat. Cape Bedford. 
See PI. VIII, 3. 

2. Bat: Flying Fox. Cape Grafton. 

3. Flying Fox: the "wings." (Lower) Palmer 

River. 



4. Two rats sitting side by side. (Lower) Tully 

River. 

5. Emu. Princess Charlotte Bay. 

6. Emu's nest: with the egg represented by a 

"match-box" bean. 

7. Cassowary: the two legs. (Lower) Tully River. 



378 



STRING FIGURES 




Roth's Plate V. — Animals: Birds 



Cassowary. Atherton. 

Eagle-hawk. Atherton. For Fish-hawk, 

see PI. XI, 4; Hawk's Foot, see PI. 

XII, 7. 
Two cockatoos roosting side by side. (Lower) 

Tully River. 



4. Two white cranes. (Lower) Tully River. 

5. Giant crane. (Lower) Tully River. 

6. Duck in flight. Princess Charlotte Bay; 

(Middle) Palmer River. 

7. Bird's nest, in the bottom of a hollow stump. 

Princess Charlotte Bay. 



ROTH'S PLATES 



379 




Roth's Plate VI. — Animals: Reptiles 



i. Water-snake. Princess Charlotte Bay. 

2. Snake, in general. Cape Bedford, Burke- 

town. 

3. Deaf-adder. The fingers of the one hand are 

moved to represent the teeth and mouth. 
Cape Bedford. 
4 Crocodile. Cape Grafton, Cape Bed- 



ford, (Middle) Palmer River. See PI. 
VIII, 3. 

5. Crocodile's nest, with egg. Pennefather River. 

"Iguana," see PI. VIII, 3. 

6. Frog. Princess Charlotte Bay. 

7. Turtle: the scutum. Cape Bedford. Princess 

Charlotte Bay. 



3 8o 



STRING FIGURES 




Roth's Plate VII. — Animals: Reptiles and Fish 



i. Tortoise: the scutum. (Middle) Palmer 5. Mullet skimming along the water. Cape 

River. Grafton. 

2. Turtle: the scutum. Pennefather River. 6. Eels carried on a hooked stick (a com- 

3. Two fish. (Lower) Tully River. mon method of carrying fish). Cape Bed- 

4. Fish. Atherton. ford. 



ROTH'S PLATES 



38i 




Roth's Plate VIII. — Animals: Crustacea and Insects. Plants 



Crab. Cape Bedford. 

Four shrimps, each square indicative of a 
crustacean. Princess Charlotte Bay. 

Honey: the cells of the comb. Cape Bed- 
ford. N.B. — This figure has other mean- 
ings: e.g., the squares represent the: 

(1) Scales of crocodile. (Middle) Palmer 

River, 
of iguana, Night Island, Burketown. 

(2) Lobes of fat, bandicoot. (Lower) 

Palmer River. 



4 Wasps' nest. Burketown. See also PI. XII, 8. 

5. Hornets' nest (drawn on the flat). Princess 

Charlotte Bay. 

6. Hollow log: symbolic of the honey inside it. 

Princess Charlotte Bay. 

7. Tree: with woman (thumb) hiding below. 

Princess Charlotte Bay. 

8. Palm-tree: with man (toe) hiding below. 

Princess Charlotte Bay (at Night Island 
this figure represents a woman with out- 
stretched arms and legs). 



3 82 



STRING FIGURES 




Roth's Plate IX. — Plants 



i. Hole in limb of tree: opossum, honey, etc., 
inside it. Princess Charlotte Bay. 

2. Zamia (Cycas) tree. Atherton. 

3. Zamia: nuts. Atherton. 

4. Two coco-nuts. Cape Grafton. 



5. Coco-nut. Cape Bedford. 

6. Yams. Night Island. 

7. Yams. Princess Charlotte Bay. Edible lily 

root: (Lower) Palmer River. 



ROTH'S PLATES 



383 




Roth's Plate X. — Inorganic Nature 



1. Sun: clouded over. Really a stage just pre- 
vious to — 
3. Sun: with full rays. Cape Bedford. 

3. Sun : with full rays. Atherton. 

4. Sun: setting on the horizon. Cape Grafton, 

Atherton, 



5. Moon. (Lower) Tully River, Atherton, Caim 

Grafton, Cape Bedford, Princess Charlotte 
Bay, Burketown. 

6. Star. Cape Bedford. 

7. Star. (Lower) Tully River. 



3»4 



STRING FIGURES 




Roth's Plate XI. — Inorganic Nature (Continued). Manufactured Articles 



Clouds, hanging dark and heavy. Really a 
stage just previous to the following figure, 
effected by separating the hands as rapidly 
as possible, so far as the string will allow, 
and at the same time making a hissing 
sound to represent the. 

Lightning. Cape Bedford. 

Rain Night Island. (Identical with PI. XI, 
8) 

River: large and broad Princess Charlotte 



Bay. This figure represents a Fish-hawk 
on the (Lower) Palmer River, the 
two squares indicating the outstretched 
wings. 
S Two rocks sticking out of the water. Cape 
Grafton. Atherton. 

6. Hill, Mountain. Princess Charlotte Bay. 

7. Boomerang. (Lower) Palmer River 

8. Two Tomahawks. Cape Bedford. (Identi- 

cal with PI. XI, 3-) 



ROTH'S PLATES 



385 




Roth's Plate XII. — Manufactured Articles (Continued), Etc. 



Four-prong spear. Cape Bedford. It repre- 
sents a speared kangaroo at Princess Char- 
lotte Bay. 

Canoe. Cape Grafton, Cape Bedford, Prin- 
cess Charlotte Bay, Night Island. 

Bark canoe: the stitches at either extremity. 
Pennefather River. 

Canoe on water: the four hands rocking it. 
Cape Bedford 



5. Fish-net. (Similar figure to preceding.) 

6. Dilly-bag with handle: Princess Charlotte Bay. 

Shell chest ornament with hanging loop: 
Atherton. 

7. Hawk's Foot. (Lower) Palmer River. (Ar- 

ranged on the fiat.) 

8. Wasps' nest. Cape Bedford. (Arranged on 

the ear.) 



CHAPTER X 

GEOGRAPHICAL DISTRIBUTION OF STRING FIGURES A FEW INVENTED FIGURES THE SCARAB — 

THE LOZENGE THE SQUARE VARIATION OF CORAL — TWO DOLPHINS VARIATION OF THE CRAB 

SECOND VARIATION OF TEN MEN. 

GEOGRAPHICAL DISTRIBUTION OF STRING FIGURES 

FIGURES whereof the finished patterns are similar to the figures described 
in this book, but concerning the methods of forming which we have no 
information, are preceded by an asterisk. 
Figures known only from the finished patterns are preceded by two asterisks. 
The names adopted for the figures described in this book are given first, the 
name by which it is known in another country, or tribe, is given below as a synonym. 
A synonym preceded by an asterisk indicates that a finished pattern is so labelled, 
but we do not positively know how it is formed. The method of making the 
few figures preceded by a dagger are known, but have not yet been published. 



AFRICA. 

Batwa Pygmies, Kasai Valley, Congo. 

Pygmy Diamonds. 

The Mouse. 
Wajiji, British East Africa. 

The Mouse. 
Ulungu, British East Africa. 

The Leashing of Lochiel's Dogs. 
Syn.: Umuzwa, a wooden spoon. 
Kabyles, Algeria (introduced from France). 

The Leashing of Lochiel's Dogs. 
Syn.: "Cock's Feet." 

AMERICA. 

Apaches : 

An Apache Door. 
An Apache Tepee. 
The Mouse. 



Cherokees: 

The Leashing of Lochiel's Dogs. 
Syn.: "Crow's Feet." 
Chippewas: 

A Finger Catch. 

The Mouse. 

Clayoquahts : 

The Leashing of Lochiel's Dogs. 
Syn.: Sea-egg (Echinus) Spear. 

Eskimos: 
Alaska. 

A Cariboo, tuktuk. 
The Mouth, rote. 
Breastbone and Ribs, grid. 
Porcupine. 

Syn.: Wolf, kulonik. 

Wolverine, koftsick. 
The Mouse 



386 



GEOGRAPHICAL DISTRIBUTION OF STRING FIGURES 387 



AMERICA. Eskimos — Continued: 
fA Ship, umiakbuk. 

fTwo Mountains and a Stream, tituchtak. 
fArms and Legs, moguk-eruk. 
fSiberian House and Two Men, kochlinee. 
fLittle Boat, kayak. 
fSea-gull, tc-c-kyack. 
fLake Fish, nanvumcheseah. 
"("Stairs, tutumukaligat. 
tOothes-line, iniarat. 
f Eskimo Rabbit, makadok. 

Syn. : Bird Sitting on Eggs, 
t Whale and Fox, achvuk-tezeuk. 
fDog on Leash, kaymuchta. 
fNameless. 

fSealskin Carrying-bag, aginuk. 
•("Two Ptarmigans, mugalonik okhozgiuk. 
|A Trap, keezook. 

Baffin Land. 

A Cariboo, tuktuqdjung. 

The Circle, ussuqdjung. 
**A Hare, ukaliaqdjung. 
**A Wolf, amaroqdjung. 
**A Hill with Two Ponds, qaqaqdjung ses- 
inging. 

Klamaths: 

(Some Modoc figures may be included 
among the following:) 
Owl's Net. 
Two Elks. 
A Rabbit. 
The Sun. 

A Rattlesnake and a Boy. 
Two Skunks. 
Two Foxes. 
Two Squirrels. 
A Porcupine. 

Two Little Boys Running Away. 
A Little Fish that Hides in the Mud. 
A Little Boy Carrying Wood. 
A Brush-house. 
Six-pointed Star. 
Two Boys Fighting for an Arrow. 

Kwakiutls : 

Threading a Closed Loop. 



AMERICA — Continued. Navahos: 
An Apache Door. 

Syn. : Li-sis, poncho. 
Many Stars, son tlani. 
An Owl, nas-ja. 
A Second Owl. 
A Third Owl. 
Seven Stars, dil-ye-he. 
Two-horned Star, son-bi-tere. 

*Syn.: So-bide-hulonni. 
Two Coyotes, ma-i-at-sani-il-watli. 

*Syn. : Mai-i-atl-sa-yill-aghueli. 
Big Star. 
North Star. 

*Syn.: Big Star, tsun-tsi. 
Carrying Wood, chiz-jo-yet-li. 
Two Hogans, naki-hogan or atl-sa-hogan. 
Two Stars. 
An Arrow, ka. 
A Man, hastine denne. 
A Bow, atl-ti. 
Lightning, atsinil-klish. 
A Butterfly, ga-lo-ki or ga-hi-ki. 
A Worm. 

Twin Stars, sono-tschu. 
A Lizard. 

Syn. : Nashoi-dichizhi. 
Storm Clouds. 
One Hogan. 
A Second Worm. 
A Bird's Nest, a-to. 
The Mouse. 
fNavaho Breastbone and Ribs. 

Omahas: 
W. 
M. 

The Mouse. 
Threading a Closed Loop. 

Onondagas: 

The Leashing of Lochiel's Dogs. 
Syn.: "Crow's Feet." 

Osages: 

Osage Diamonds. 
Osage Two Diamonds. 
The Mouse. 
A Thumb Catch. 



3 88 



STRING FIGURES 



AMERICA — Continued. Pawnees: 

Threading a Closed Loop. 
Salish, Thomson River, British Columbia: 
Dressing a Skin. 
A Fish-spear. 

Syn.:" Pitching a Tent." 
Tananas, Alaska: 

The Leashing of Lochiel's Dogs. 

Syn.: "Crow's Feet." 
fBow String. 
fRaven's Feet. 
fNew Mittens. 
Tewas, Isleta, N. M. 

A Brush House, nathu. 
Six-pointed Star. 

*Syn.: Pah-rhu-la, a star. 
*An Apache Door. 
*Many Stars. 
*Lightning. 

Syn.: Vo-pi-ri-dai, lightning. 
Zunis : 

*An Apache Door. 

Syn.: A-tslo-no-no-nai. 
*A Brush House, pi-cho-wai, ham-pun-nai. 
*A Fish-spear. 
*Carrying Wood. 
Twin Stars. 

Syn.: Pi-cho-wai; wai-lo-lo, lightning. 
**Top Cross-beam of a Ladder; tslem-pis- 
to-nai; pi-cho-wai-nai. 

AUSTRALIA. North Queensland. 
*A House. 

Syn.: Canoe on the Water; also a Fish 
Net. 
*Ten Men. 

Syn.: A Turtle. 
*Flint and Steel. 

Syn. : A Deaf Adder. 
*The Leashing of Lochiel's Dogs. 

Syn.: Four-pronged Spear. 
*One Chief. 

Syn.: Giant Crane. 
**Two Boys Carrying Spears. 
**Two Women Fighting with Sticks. 
**Four Boys Walking in a Row. 
**Two Men Walking Down a Valley. 



AUSTRALIA— Continued : 
**Man Climbing a Tree. 
**Kangaroo. 
**Pouch; Kangaroo. 
**Pouch; Wallaby. 
**A Spear; A Kangaroo Speared. 
**Bandicoot. 
**Bat. 

**Flying Fox. 

**Two Rats Sitting Side by Side. 
**Emu. 

**Emu's Nest, with Egg. 
**Cassowary. 
**Eagle-hawk. 
**Two Cockatoos Roosting. 
**Two White Cranes. 
**Duck in Flight. 
**Bird's Nest. 
**Water Snake. 
**Snake. 
**Crocodile. 

**Crocodile's Nest, with Egg. 
**Frog. 
**Turtle. 
**Tortoise. 
**Turtle (II). 
**Two Fish. 
**Fish, Mullet. 
**Mullet. 

**Eels Carried on a Hooked Stick. 
**Crab. 

**Four Shrimps. 
**Honey. 
**Wasp's Nest. 
**Homet's Nest. 
**Hollow Log. 
**Tree. 
**Palm-tree. 

**Hole in Limb of a Tree. 
**Zamia Tree. 
**Zamia Nuts. 
**Two Coconuts. 
**Coconut. 
**Yams (I). 
**Yams (II). 
**Sun, clouded over. 
**Sun, with full rays. 



GEOGRAPHICAL DISTRIBUTION OF STRING FIGURES 389 



AUSTRALIA— Continued : 
**Sun, with full rays (II). 
**Sun, setting. 
**Moon. 
**Star. 
**Star (II). 
**Clouds. 
**Lightning. 
**Rain. 
**River. 
**River (II). 

Syn.: A Fish -hawk. 
**Two Rocks. 
**Hill. 

**Boomerang. 
**Canoe. 
**Bark Canoe. 
**Dilly-bag. 
**Hawk's Foot. 
**Wasp's Nest. 

BORNEO. 

The Real Cat's-cradle. 

BRITISH NEW GUINEA. 

Kiwai Island at the Mouth of the Fly 
River: 
A Crab, kokowa. 

CAROLINE ISLANDS. 

Natik: 

Caroline Islands Catch. 

Circles and Triangles, bur-bur-ani-jau. 

Ten Men. 

Variation of Ten Men. 

Caroline Islands Triangles. 

House of the Blos-bird, palangan-im-mun- 
blos. 

No Name. 

Caroline Islands Diamonds. 
Uap: 

Carrying Money, runi-ka-fei. 

Three Stars, dilipi-tu}. 

Coral, melang. 

Two Chiefs, logaru-pilun. 

A House, naun. 

One Chief, pilun. 

A Turtle. 



CAROLINE ISLANDS. Uap— Continued . 
Ten Times. 
Flint and Steel, nifi. 
Torres Straits Lizard. 
A Finger Catch. 
Hanging. 
Threading a Closed Loop. 

CHINA. 

The Real Cat's-cradle. 

ENGLAND. 

The Real Cat's-cradle. 
Tallow Dips. 

Threading a Closed Loop. 
Osage Thumb Catch. 

EUROPE. 

The Real Cat's-cradle. 

HAWAIIAN ISLANDS. 

*Osage Diamonds. 

Syn. : Ma-ka-lii and pu-kau-la. 

*Osage Two Diamonds. 

Syn.: Pa-pi-o-ma-ka-nu-i-nu-4. 
**Hoo-ko-mo. 

**Ace of Diamonds, eke-ma-nu. 
**See-saw, ma-hi-ki. 
**A Post, pou. 
**A Pump, pau^na-wai. 
**Darkness, po. 
**Ace of Spades, e-ke-pe-ki. 
**Ace of Hearts, e-ke-ha-ka. 
**Ma-ka-u-pe-na. 
**Ko-he. 

**The Breasts, wa-u-la-wa. 
**0-ko-le-a-mo. 
**Pu. 

**Ha-le-ku-mu-ma-ka-a. 
**A-ha-ma-ka. 
**A Bird House, a-na-ma-nu. 

INDIA. 

A Dravidian Trick. 

IRELAND. 

Osage Diamonds. 

Syn.: The Ladder; the Fence. 
The Leashing of Lochiel's Dogs. 

Syn.: Duck's Feet. 



39° 



STRING FIGURES 



IRELAND— Continued : 
Tallow Dips. 
The Mouse. 
The Real Cat's-cradle. 

JAPAN. 

The Mouse. 

Threading a Closed Loop. 
The Real Cat's-cradle. 
KOREA. 

The Real Cat's-cradle. 

LOYALTY ISLANDS. Ln?u: 
A Well, tint. 
Fence Around a Well, sihnag. 

MARSHALL ISLANDS. Nauru: 

**Hull of a Ship, deimano. 

**Egona and Egameang Sitting on a Stone. 

**A Butterfly, ijewaioi. 

**A Woman, Egattamma. 

**Nauru Woman of Rank, Etima and Etowa. 

**The Woman, Echeog and Edawaroi. 

**A Sea-snake, iiyanibongo. 

**A Nauru Dandy, tinamitto. 
■ **A Lady of Quality, Egarawingo. 

**A Man, ibunemun. 

**A Mat (I). 

**A Mat (II). 

**A Mat (III). 

**A Mat (IV). 
NEW ZEALAND. 
*A House. 

PHILIPPINES. 

Bagobos: 

Bagobo Diamonds. 
Bagobo, Two Diamonds. 
The Real Cat's-cradle. 



PHILIPPINES— Continued : 
Linao Moros: 
Bagobo Diamonds. 
Ten Times. 
Hanging. 
The Mouse. 
The Real Cat's-cradle. 
Negritos : 
Hanging. 
The Mouse. 
SCOTLAND. 

The Leashing of Lochiel's Dogs. 
Tallow Dips. 
TORRES STRAITS. 

Fighting Head-hunters, ares. 

Sunset, lem baraigida, Murray Island. 

Syn.: A Star, dogai, Mabuaig. 
A Fish-spear, baur. 
A Sea-snake, pagi. 
Kingfish, geigi, Murray Island. 

Syn.: The Dugong, dangal, Mabuiag. 
A Well. 
Syn.: Nest of the Ti-bird, ti-meta; a 
Canoe, gul., Mabuiag. 
A Trigger Fish, nageg. 
Casting the Fish-spear. 
A Man and a Bed, le-sik. 
A Palm Tree, u. 
A Canoe with Two Masts, nar. 
Little Fishes, tup. 

A Torres Straits Lizard, monan, Murray 
Island. 
Syn.: Intestines of a Turtle, maita, 
Mabuiag. 
The Mouse, kebe-mokeis. 
Fly on the Nose, buli. 
Will You Have a Yam, lewer, food. 



A FEW INVENTED FIGURES— THE SCARAB 

The first four movements are the same as the first four movements of the 
"Well." The strings in the centre of the figure cross so as to form a large X. 

Fifth : Bend each thumb away from you into the former thumb loop (now 
hanging from the top straight string of the figure), and pick up, with the back of 
the thumb from the palmar side, the lower leg of the X, and pull it toward you 
through the hanging thumb loop. 



THE LOZENGE 



39 1 




Fig. 861 



Sixth: The same as the Ninth movement of the "Crab." 
Seventh and Eighth : The same as the Second and Third movements of the 
"Fence" (Fig. 861). 

THE LOZENGE 

First : Opening A. 

Second : Pass each thumb away from you over the far thumb string and both 
strings of the index loop, and pick up from below on the back of the thumb the near 
little finger string, and return the thumb to its position. 

Third : Bend each middle finger down into the thumb loops, and pick up from 
below on the back of the middle finger the lower near thumb string, and return the 
middle finger to its position. 

Fourth: Let the upper thumb loops slip entirely off the thumbs. 

Fifth: Pass each thumb away from you, close to the palm (thus taking the twist 
out of the thumb loop) under all the strings, and pick up from below on the back 




of the thumb the far little finger string, and return the thumb to its position, drawing 
the string toward you between the near index string and the far thumb string, the 
latter slipping off the thumb during the movement. 

Sixth : Release the loops from the little fingers, transfer the middle finger 
loops to the little fingers, and extend the figure (Fig. 862). 



39 2 



STRING FIGURES 



THE SQUARE 

First, Second, and Third : The same as the first three movements of the 
: Apache Door." 

Fourth: The same as the Fifth movement of the "Apache Door." 

Fifth : Opening A, taking up the single lower palmar string only. 

Sixth : Pick up from below on the back of each thumb the near index string, 




Fig. 863. 



return the thumb to its position and slip the two lower thumb loops over the upper 
loop (the one you have just taken on the thumb) and entirely off the thumb. 

Seventh : Pick up from below on the back of each little finger the far index 
string, return the little finger to its position, and slip the two lower little finger loops 




Fig. 864. 

over the upper loop (the one you have just taken on the little finger) and entirely 
off the little finger. 

Eighth : Insert each thumb and little finger from below into the index loop of 
the same hand, withdraw the index, separate widely the thumbs and little fingers, 
and draw the strings tight (Fig. 863). 



TWO DOLPHINS 



393 



VARIATION OF CORAL 

First : Opening A. 

Second : Exchange the loops on the thumbs, putting the left thumb loop on 
the right thumb and then the right thumb loop on the left thumb. 

Third: Now go through all the movements of the "Coral," beginning with 
the Second movement (Fig. 864. Compare Fig. 359, and pi. x, 1, page 383). 



TWO DOLPHINS 

. First and Second: The same as the first two movements of "Many Stars." 
Third : Bend each middle finger down toward you over the index strings, and 

take up from below, on the back of the finger, the far thumb string, and return the 

middle finger to its position. 

Fourth : Separate the thumbs widely from the other fingers, and laying the 

figure on the knee, withdraw the thumbs gently, and pick up through the thumb 




Fig. 865. 



loop, on the back of the thumb, the far little finger string. Take the figure from the 
knee and draw the strings tight. 

Fifth : Wrap the far middle finger string once around the little finger, turning 
the string away from you and then toward you. Slip the lower, original, little 
finger loop over the upper loop and off the little finger. Repeat on the other hand. 

Sixth : Transfer the index loop to the thumb ; slip the lower, original thumb 
loop entirely off the thumb. 

Seventh : Release the loops from the little fingers and draw the hands quickly 
apart (Fig. 865). 



394 



STRING FIGURES 



VARIATION OF THE CRAB 

First, Second, Third, Fourth, and Fifth: The same as the first five move- 
ments of the " Scarab." 

Sixth, Seventh, Eighth, Ninth, and Tenth : The same as the Second, Third, 
Fourth, Fifth, and Sixth movements of the " Crab." Push the loop which passes 




Fig. 866. 



around the vertical string running from the index to the little finger, well up, away 
from the little finger loops. 

Eleventh : Keep the index loop well up on the tip of the finger, and pass each 




Fig. 867. 



thumb away from you, and, picking up on the back of the thumb, draw toward 
you the lower diagonal string of the loop passing around the vertical string which 
runs from the index to the little finger. 



SECOND VARIATION OF TEN MEN 395 

Twelfth: Now complete the "Crab," beginning with the Eighth movement 
and going through to the very end (Fig. 866). 

To put an additional ring around the index loop, repeat this figure, from the 
Eleventh movement to the end. This may be done any number of times. 



SECOND VARIATION OF TEN MEN 

The first eight movements are similar to the first eight movements of the 
"Variation of Ten Men." Then begin at the Ninth movement of "Ten Men," 
and complete that figure (Fig. 867). 



BIBLIOGRAPHY 

Andree, R. — i. Correspondenzblatt deutscher anthropologischer Gesellschaft, 1888, p. 54. 

2. Mittheilungen der anthropologische Gesellschaft in Wien, 1888, Bd. XVIII, 

p. 214. 

3. Ethnographische Parallen und Vergleiche, Neue Folge, Leipzig, 1889, p. 96. 
Boas, Franz. — 1. The Game of Cat's-cradle. Internationales Archiv fiir Ethnographie, I, 

1888, p. 229. 

2. Das Fadenspiel. Mittheilungen der anthropologische Gesellschaft in Wien, 

1888, p. [85]. 

3. The Central Eskimo. Sixth Annual Report of the Bureau of Ethnology, 

1884-85, Washington, 1888, p. 569, three figures. 

4. The Eskimo of Baffin Land and Hudson Bay. Bulletin of the American 

Museum of Natural History, New York, XV., 1901, pp. 151, 161. 
Brown, E. E. — University of California Magazine, V, 1899, P- ^Z- 
Buchner, M. — Reise durch den stillen Ozean, Breslau, 1878, p. 269. 
Bunce, D. — Australasiatic Reminiscences, Melbourne, 1857, p. 75. 
Cock, A. de, en Teirlinck, Is. — Kinderspel en Kinderlust in Zuid-Nederland, Gent, 1903, Derde 

Deel, pp. 209-211. 
Codrington, R. H. — The Melanesians: Studies in their Anthropology and Folk-lore, Oxford, 

1891, pp. 30, 31, 341. 
Crespigny, C. A. C. de. — Notes on Borneo. Proceedings of the Royal Geographical Society, II, 

1858, p. 344. 
Culin, Stewart. — 1. Hawaiian Games. American Anthropologist, Vol. I, No. 2, n. s., April, 
1899, pp. 222, 223, Plates XIII, XIV, XV. 

2. Korean Games, with Notes on the Corresponding Games of China and 

Japan, Philadelphia, 1895, p. 30. 

3. Bulletin II, Free Museum of Science and Art, Philadelphia, 1899, p. 106. 
Dieffenbach, Ernest. — Travels in New Zealand, London, 1843, II, p. 32. 

Ehrenreich, P. — Beitrage zur Volkerkunde Brasiliens. Veroffentl. d. Mus. f. Volkerkunde in 

Berlin, II, 1891, p. 30. 
Ellis, William. — Polynesian Researches, London, 1853. 
Eyre, E. J. — Journals of Expeditions of Discovery into Central Australia, London, 1845, II, p. 

227. 
Fielde, Adele M. — A Corner of Cathay, New York, 1894, p. 87. 

396 



BIBLIOGRAPHY 397 

Finsch, 0. — Ethnologische Erfahrungen und Belegstucke aus der Siid-see. Ann. des k. k. 

naturhist. Hofmuseums Wien, III, 1888, p. 143; VI, 1891, p. 33. 
Gill, W. Wyatt. — Life in the Southern Isles, London, 1876, p. 65. 
Gomme, Alice B. — Dictionary of British Folk-lore, Part I, Traditional Games, London, 1894, 

Vol. I, p. 61. 
Gray, Rev. John. — Some Scottish String Figures. Man, August, 1903, 66, p. 117. 
Haddon, A. C. — 1. The Ethnography of the Western Tribes of Torres Straits. Journal of the 
Anthropological Institute, XIX, 1890, p. 361. 

2. The Study of Man, London and New York, 1898, p. 224. 

3. Head-hunters, Black, White, and Brown, London, 1901, pp. 38, 175, 201. 

4. (With W. H. R. Rivers) A Method of Recording String Figures and Tricks. 

Man, October, 1902, 109, pp. 146-153. 

5. A Few American String Figures and Tricks. American Anthropologist, 

Vol. V, No. 2, April- June, 1903, p. 213. 

6. Reports of the Cambridge Anthropological Expedition to Torres Straits, 

Vols. I-VI, Cambridge, England. 
Hall, Charles Francis. — 1. Life with the Esquimaux, p. 316. 

2. Arctic Researches, and Life Among the Esquimaux, New York, 
1865, p. 129. 
Hingston, Margaret A. — "The Candles" String Figure in Somerset. Man, October, 1903, 85, 

p. 147. 
Klutschak, H. W. — Als Eskimos unter den Eskimos, Wien, 1881, pp. 136, 139, three figures. 
Maclagan, R. C. — -The Games and Diversions of Argylshire, London, 1901, pp. 189, 190. 
Mallery, G. — Pictographs of the North American Indians. Fourth Annual Report of the Bureau 

of Ethnology, 1882-83, Washington, 1886, p. 238. 
Matthes, B. F. — Bijdragen tot de ethnologie van Ziud-Celebes, p. 129. Makas en Boeg. Woord- 

enbock, I, V. 
Murdoch, John. — Ethnological Results of the Point Barrow Expedition. Ninth Annual Report 
of the Bureau of Ethnology, 1887-88, Washington, 1892, p. 383. 

Nelson, E. W. — The Eskimo about Behring Strait. Eighteenth Annual Report of the Bureau 

of Ethnology, I, 1896-1897, Washington, 1899, p. 332. 
Nister, E. — The Games Book for Boys and Girls, London, 1897, p. 73. 

Partington, James Edge, and Heape, Charles. — An Album of the Weapons, Tools, Ornaments, 

Articles of Dress, etc., of the Natives of the Pacific Islands, drawn and described from 

examples in public and private collections in England, 1895. 
Rivers, W. H. R., and Haddon, Alfred C. — A Method of Recording String Figures and Tricks. 

Man, October, 1902, 109, pp. 146-153. 
Roth, Walter E. — North Queensland Ethnography. Bulletin No. 4, March, 1902. Games, 

Sports, and Amusements. Home Secretary's Department, Brisbane, p. 10. 
Schmeltz, J. D. E. — Internationales Archiv fur Ethnographie, I, 1888, p. 230. 

Smith, Harlan I. — The Thompson Indians of British Columbia, by James Teit, ed. by Franz 
Boas. Memoirs of the American Museum of Natural History, New York, Vol. II, 
Anthropology, Vol. I, 1900, p. 281, Fig. 270. 



398 STRING FIGURES 

Smyth, R. Brough. — Aborigines of Victoria, London, 1878, I, p. 178. 

Taylor, R. — Te Ika a Maui; or New Zealand and Its Inhabitants, London, 1855, p. 172. 

Tenicheff, W. — L'activite de l'homme, Paris, 1898, p. 153. 

Thilenius. — Globus, LXXXIII, 1903, p. 20. 

Tregear, Edward. — 1. The Maoris of New Zealand. Journal of the Anthropological Institute, 
XIX, 2, November, 1889, p. 115. 
2. The Maori Race, Wanganni, 1904, p. 58. 

Turner, W. Y. — The Ethnology of the Motu. Journal of the Anthropological Institute, VII, 
1878, p. 483. 

Tylor, E. B. — Remarks on the Geographical Distribution of Games. Journal of the Anthropo- 
logical Institute, IX, 1, August, 1879, p. 26. 

Wallace, Alfred R. — The Malay Archipelago, London, 1869, 1, p. 183. 



INDEX 



Abeita, Antonio, 301, 307. 

Abheben, xv, 324. 

Ace of diamonds, 372. 

Ace of hearts, 373. 

Ace of spades, 373. 

Achvuk-tezeuk, 363. 

Afpakken: Dradenspel, xiv, 324. 

African string games, xxii, 1, 116, 276, 324, 340, 

34i, 3 86 - 
Aginuk, 364. 
A-ha-ma-ka, 374. 
Ai, xix. 

Ajakailaiguk, 366. 
Ajararpoq, 2. 
Alaska, Eskimo games in, xix, 2, 282, 308, 341, 

3S8> 359. 37i> 386- 
Algiers, cat's-cradle in, 324, 386. 
Amaroqdjung, 371. 
Amau, xix. 

American string games, xix, 2, 386. 
A-na-ma-nu, 374. 
Andai-ibi, 2. 
Andree, R., xv, xix, xx. 
Ane-inga, 2. 
Anvik, Alaska, 362, 363. 
Apache door, 12. 

Apache Indian string games, 2, 12, 246, 340, 386. 
Apache teepee, 246. 
Ares, 16. 
Arms, 360. 
Arrow, 133. 

Asia, cat's-cradle in, xii, 324. 
Asiatic opening, xii. 
Asiatic type of string figures, xii, xxii. 
Atl-sa-hogan, 121. 
Atl-ti, 216. 
Atsinil-klish, 216. 
Attractiveness of string games, 8. 
Auf- und abnehmen, xv, 324. 
Australian string games, xv, xxi, 1, 2, 116, 150, 

200, 324, 375, 388, 389. 
Austria, cat's-cradle in, xiv, 324. 
Aya-ito-tori, xiii, 2, 324. 



Baffin-Land Eskimo games, xix, 2, 124, 127. 

Bagobo diamonds, xiv, 43. 

Bagobo two diamonds, 46. 

Bagobo games, 43, 46, 390. 

Bandicoot, 377. 

Bark canoe, 385. 

Barn-doors, xiv. 

Bat, 377. 

Batwa Pygmy games, xxii, 1, 276, 340, 386. 

Baur, 32. 

Bentley Bay, xvi. 

Berceau, le, xv, 325. 

Bibliography, 396. 

Big Diomede Island, Alaska, 361. 

Big star, 64. 

Bird house, 373. 

Bird's nest, 314, 378. 

Bird on eggs, 363. 

Blos-bird, house of the, 162. 

Boas, Franz, xi, xix, xx, 2, 124, 127, 354, 371. 

Boomerang, 384. 

Bornean string games, xiii, xiv, 1, 324, 389. 

Bow, 212. 

Bow-string, 366. 

Bowling-green, xiv. 

Brabant, cat's-cradle in, xv. 

Breastbone and ribs, 308. 

Breasts, 373. 

British Islands, xxi. 

Broom, 248. 

Brown, E. E., xviii, 2. 

Brush house, 301. 

Buchner, M., xvii, 2. 

Bugis, string games of the, xiv, 2. 

Buli, 348. 

Bunce, D., xv, 1. 

Bunch of candles, 248. 

Bur-bur-ani-jau, 146. 

Butterfly, 218, 368. 

Candles, xii, 326. 

Candles, bunch of, 248. 

Cannibal Pygmies, their games, 1, 276, 340, 386. 



399 



400 



INDEX 



Canoe, 85. 

Canoe, bark, 385. 

Canoe on the water, 385. 

Canoe with two masts, 195. 

Cantonese string games, xiii. 

Cape Darby, xix. 

Cape Prince of Wales, 361, 362, 363, 364, 365. 

Cariboo, 124, 365. 

Caroline Islands catch, 142. 

Caroline Islands diamonds, 260. 

Caroline Islands string games, 2, 3, 142, 146, 150, 
156, 158, 160, 162, 167, 176, 188, 200, 253, 260, 
265, 271, 320, 337, 339, 346, 354, 37s, 389. 

Caroline Islands triangles, 158. 

Carreaux, lcs, xv, 331. 

Carrying money, r6o. 

Carrying wood, 66. 

Carrying wood, little boy, 295. 

Cassowary, 377, 378. 

Casting the fish -spear, xvi, 131. 

Catch, Caroline Islands, 142. 

Catch, finger, 346. 

Catch, thumb, 350. 

Catches, 4, 39, 142, 337. 

Cat's-cradle, the name, 2, 324. 

Cat's-cradle, real, xii-xv, 324. 

Cat's-eye, xiv, 332. 

Central American string games, xx. 

Celebes, string games in, xiv, 1, 2, 324. 

Chaco Indians, xx. 

Chandelles, les, xv, 326. 

Chair, 248. 

Cherokee Indian games, xx, xxii, 2, 116, 386. 

Chess-board, xii, 325. 

Chief, one, 253, 375. 

Chiefs, two, 188, 375. 

China, cat's-cradle in, xiii, 1, 324, 389. 

Chippewa Indian games, 2, 340, 346, 386. 

Chizh-joyeli, 66. 

Chiz-jo-yet-li, 66. 

Chop-sticks, xii, 326. 

Church window, xiv, 325. 

Circle, 127. 

Circles and triangles, 146. 

Ciseaux, les, xv, 325. 

Classification of string figures, xii, 4. 

Clayoquaht Indian games, xxii, 2, 32, 386. 

Clock, 335. 

Clothes line, 363. 

Clouds, 384. 

Clouds, storm, 236. 

Cock's feet, 116. 

Coconut, 382. 

Coconuts, two, 382. 



Codrington, R. H., xvii, 1. 

Comer, Capt., xix. 

Comox, Vancouver Island, xx. 

Connection between string games and beliefs, 

xviii, xix, xxii. 
Coral, 176. 

Coral, variation of, 393. 
Countries, string games of different, 1, 2, 386. 
Cover for a hearse, xii, 325. 
Cow's eyeball, xii, 332. 
Cow's head, 58. 
Cox, J. L., 2, 69, 82, 101, no, 114, 121, 137, 204, 

287. 2 °i> 3 OI > 3°7. 3 J 7- 
Crab, 89, 381. 
Crab, variation of, 394. 
Cradle, xiv, xv, 325. 
Crane, 378. 
Cratch-cradle, 324. 
Crocodile, 379. 
Cross-beam of a ladder, 375. 
Crown, 248. 

Crow's feet, xxi, xxii, 116, 366. 
Cudgi-cudgick, xv, 2. 
Culin, Stewart, xii, xiii, xviii, 1, 2, 12, 24, 28, 32, 48, 

53, 5 6 > 5 8 > 6 5> 66 > I2I > 2 i 6 . 228, 301, 307, 372. 
Cumberland Sound Eskimo games, xx, 124, 127, 

371; 

Cunnington, Dr. C. W., xxii. 

Dakofel, 167, 265, 271, 339. 

Dangal, 39. 

Darcia Tafoya, 246. 

Darkness, 373. 

Dauar, 16. 

Deaf-adder, 379. 

De Cock, A., xiv. 

De Crespigny, C. A. C, xiv. 

Deimano, 367. 

Delena, xvi. 

Delhi, India, xiii. 

Denmark, cat's-cradle in, xiv, 324. 

Denne, 184. 

Descriptions, explanation of the, 8. 

Diamonds, xiv, 331, 332. 

Diamonds, Bagobo, 43. 

Diamonds, Bagobo two, 46. 

Diamonds, Caroline Islands, 260. 

Diamonds, Osage, 24. 

Diamonds, Osage two, 28. 

Diamonds, Pygmy, 276. 

Dieffenbach, E., xviii, 2. 

Different countries, string games in, 1, 2, 386. 

Dilipi-tuf, 167. 

Dilly-bag, 385. 



INDEX 



401 



Dil-ye-he, 56. 

Distribution of string games, 1, 2, 386. 

Dog, xvi. 

Dog on a leash, 364. 

Dogai, 21. 

Dolphins, two, 393. 

Door, Apache, 12. 

Doxon, Charles, 121. 

Dravidian trick, 345. 

Dressing a skin, 30. 

Duck in flight, xvi, 378. 

Duck's feet, 116. 

Dugong, 39. 

Dulukan, 176, 188. 

Eagle-hawk, 378. 

East African string games, xxii, 116, 341, 386. 

East Indian Archipelago, xiii, xxi. 

Echeog and Edawaroi, 369. 

Edge-Partington, James, xvi, 34. 

Eels, 380. 

Egarawinago, 371. 

Egattamma, 368. 

Egona and Egameang sitting on a stone, 368. 

Ehrenreich, P., xx, 1. 

E-ke-ha-ka, 373. 

E-ke-ma-nu, 372. 

E-ke-pe-ki, 373. 

Elks, two, 74. 

Emerson, J. S., xviii. 

Emily, 142, 156, 158, 162, 176, 260. 

Emu, 377. 

Emu's nest, 377. 

England, string games in, xii, xiii, 116, 324, 350, 

354, 389- 
Eriskay, 116. 
Eruk, 360. 

Eskimo games in Alaska, 282, 341, 386. 
Eskimo games in Baffin-Land, 2, 124, 127, 387. 
Eskimo string games, xix, xx, xxi, 2, 124, 127, 282, 

34i, 3 86 - 
Etaroking, 371. 
Etima and Etowa, 369. 
Ethnological value of string games, 3. 
Europe, cat's-cradle in, xiv, 1, 324, 389. 
Eyre, E. J., xv, 1. 
Explanation of methods, 5. 
Explanation of the descriptions, 8. 

Faden-abheben, xv, 324. 
Faden-spiel, xv, 324. 
Fence, 24. 

Fence around a well, 88. 
Fiddle, xiv, xv. 



Fielde, Adele M., xviii, 1. 

Fighting head-hunters, 16. 

Figures, invented, 9, 390. 

Figures known only from the finished patterns, 366. 

Fiji Islands games, xvii, 2. 

Filipino string games, xiv, xxi, 1, 43, 46, 270, 324, 

339, 340, 390. 
Finger catch, 346. 

Finished patterns in different countries, 3. 
Finsch, O., xvi, xvii, 1. 
First games recorded, xi, 2. 
First position, 10. 
Fish, 380. 

Fish in a dish, xiv, 332. 
Fish hawk, 384. 
Fish, King, 39. 

Fish, little, that hides in the mud, 291. 
Fish net, 385. 
Fish pond, xiv, 325. 
Fish-spear, xxii, 32. 
Fish-spear, casting the, 131. 
Fish, trigger, xvii, 96. 
Fish, two, 330. 
Fishes, little, 233. 
Flint and steel, 320, 375. 
Florida Island string games, xvii, 2. 
Fly on the nose, 348. 
Flying fox, 377. 
Food, 352. 

Four boys walking in a row, 376. 
Four-pronged spear, 385. 
Four shrimps, 381. 
Fox, flying, 377. 
Foxes, two, 114. 

France, cat's-cradle in, xiv, 324. 
Freire-Marreco, B., xiv. 
Frog, 379. 

Furness, Dr. H. H., 335. 
Furness, Dr. W. H., 1, 2, 3, 116, 142, 146, 156, 158, 

160, 167, 176, 188, 200, 253, 260, 265, 271, 320, 

3 2 4, 337. 339, 346, 375- 

Gagai, 2. 

Ga-hi-ki, 219. 

Ga-lo-ki, 219. 

Gallup, New Mexico, 54, 56, 64, 129, 314. 

Games, methods used in string, 5. 

Games, string, of different countries, 1, 2, 386. 

Gare, 34. 

Geige, die, xv, 3261 

Geigi, 39. 

Ger, xvi. 

Germany, cat's-cradle in, xiv, xv, 324. 

Geta-no-ha, 326. 



402 



INDEX 



Giant crane, 378. 

Gill, W. Wyatt, xix, 2. 

Gomme, Alice B., xiv. 

Gordon, Dr. G. B., 358. 

Grand Canyon, Arizona, 58. 

Gray, Rev. John, 3, 116, 248. 

Great Britain, cat's-cradle in, xiv, 1, 24, 116, 248, 

3 2 4, 34i, 35°, 354, 35 6 - 
Grut, 308. 
Gud, xvi. 
Gul, 85. 
Gumaun, 320. 

Hacking wood, 66. 

Haddon, Dr. A. C, 1, 2, 8, n, 16, 20, 21, 30, 32, 
34, 39, 48, 53, 66, 85, 88, 89, 96, 116, 121, 124, 
131, 192, 195, 216, 233, 236, 243, 248, 323, 324, 

337, 340, 341, 345, 348, 35 2 > 354, 375- 
Ha-le-ku-mu-ma-ka-a, 374. 
Hall, C. F., xix, 2. 

Hampton, Va., 69, 101, 137, 204, 287, 301. 
Handcuffs, 251. 
Hanging, 339. 
Hare, 371. 
Hastine denne, 184. 
Hawaiian Islands, games in the, xviii, 2, 24, 28, 

37 2 , 3 8 9- 
Hawk's foot, 385. 
Head-hunters, fighting, 16. 
Heape, Charles, xvi, 34. 
Hebrides, games in the, 166. 
Hei, xviii, 2. 

Hervey Islands, games of the, xviii, xix, 2. 
He-whai, xviii, 2. 
Hexenspiel, xv, 324. 
Hill, 384. 

Hill and two ponds, 371. 
Hine-uni-te-po, xviii. 
Hingston, A., xxi. 
Hingston, Margaret A., 248. 
Hogan, 243. 
Hogans, two, 121. 
Hole in the limb of a tree, 382. 
Hollow log, 381. 
Honey, 381. 
Honggo, xvii, 2. 
Honggo-kama, xvii. 
Honggo-kiki, xvii. 
Hoo-ko-mo, 372. 
Horned star, two, 58. 
Hornet's nest, 381. 
Horse's eye, xiii, 332. 
Hour-glass, xiv. 
House, 200, 375. 



House, Brush, 301. 

House of the Blos-bird, 162. 

Huhi, xix, 2. 

Hula, xvi. 

Hull of a ship, 367. 

Hut, 301. 

Ibunemun, 371. 

Iglulik string games, xix. 

Iguana, 381. 

Iiyanibongo, 371. 

Ijewaioi, 368. 

Illustrations, explanation of the, 9. 

India, string games in, xiii, 1, 345, 389. 

Iniarat, 363. 

Intestines of a turtle, 337. 

Invented figures, 9, 390. 

Inverted cradle, xiv, 329. 

Iole, xviii. 

Ireland, string games in, 24, 116, 248, 341, 356, 389. 

Island, Dauar, 16. 

Florida, xvii, 2. 

King, 359, 361, 364. 

Kiwai, 89. 

Lepers', xvii, 2. 

Lifu, 85, 88, 390. 

Mabuiag, 21, 39, 85, 337, 390. 

Murray (or Mer), 16, 21, 32, 34, 39, 85, 233, 

337, 34i, 39°- 
Natik, 142, 150, 156, 158, 162, 176, 260, 389. 
Nauru, 367, 390. 
Nunivak, 360, 362, 364. 
Uap, 160, 167, 176, 188, 200, 253, 265, 271, 320, 

337, 339, 346, 354, 389- 
Islands: 

Caroline, 2, 3, 142, 150, 156, 158, 160, 162, 167, 

176, 188, 200, 253, 260, 265, 271, 320, 337, 

339, 346, 354, 389- 
Fiji, xvii, 2. 

Hawaiian, xviii, 2, 24, 28, 372, 389. 
Hebrides, 116. 
Hervey, xviii, xix, 2. 
Loyalty, 2, 85, 88, 390. 
Marshall, 2, 367, 390. 
Murray, xvi, xvii, xxii, 16, 21, 32, 34, 39, 85, 

233, 337, 34i, 39°- 
New Ireland, xvii, 1. 
New Hebrides, xvii, 1, 2. 

Philippines, xiv, 1, 43, 46, 270, 324, 339, 340, 390. 
Solomon, 1, 2. 
Torres Straits, xi, xii, xvi, xxii, 1, 16, 21, 32, 34, 

39, 85, 96, 129, 192, 195, 233, 337, 341, 348, 

352, 375, 39°- 
Isleta, string games in, 12, 48, 216, 301, 307, 388. 



INDEX 



403 



Jackson, Emma, 69, 101, no, 137, 287, 291, 301, 

3*7- 
Jacob's ladder, 24. 

Japan, string games in, xiii, i, 2, 324, 341, 354, 390. 
Java, string games in, xiv, 1, 324. 
Jicarilla, New Mexico, 12, 246. 

Ka, 133. 

Kabyles, string games of the, 116, 386. 

Kakbik, xix. 

Ka Lae, xviii. 

Kamai, 2. 

Kamut, xvi, 2. 

Kamut songs, xvii. 

Kamut wed, xvii. 

Kanai, xviii. 

Kangaroo, 376. 

Kangaroo speared, 376. 

Kang sok, 324. 

Kapan, 2. 

Karaya, xx. 

Kayak, 361. 

Kaymuchta, 364. 

Kebe mokeis, xxii, 341. 

Keezook, 365. 

Kema, xvii. 

Kidneys, 364. 

King fish, 39. 

King Island, 359, 361, 364. 

King William Land, xix. 

Kiwai Island, xvi, 89. 

Klamath Indians, string games of the, 2, 69, 74, 

79,82, ior, no, 114, 137, 287, 291, 295, 301, 

307, 317, 387. 
Klutschak, H. W., xix, xx, 2. 
Kochlinee, 361. 
Koftsick, 361. 
Kohala, xviii. 
Ko-he, 373. 
Koko, xviii. 

Koko-lama-lama blacks, 2. 
Koko-rarmul blacks, 2. 
Kokowa, 89. 
Koko-wara blacks, 2. 
Koko-yimidir blacks, 2. 
Korea, cat's-cradle in, xii, 1, 324, 336, 390. 
Koto, 326. 
Kulonik, 361. 
Kumai, 2. 

Kungganji blacks, 2. 
Kwakiutls, string games of the, xx, 2, 354, 387. 

Ladder, 24. 

Lady of quality, 371. 



Lady's bed, xiv. 

Lake Fish, 362. 

Lake Tanganyika, xxii. 

Leashing of LochieFs dogs, xxi, 116, 366, 375. 

Leather-jacket, xvii. 

Legs, 360. 

Lelagaro, xvii, 2. 

Lem baraigida, 21. 

Lemet, 176, 253. 

Lena Smith, 12. 

Lepers' Island string games, xvii, 2. 

Le Sik, xvii, 192. 

Levinstein, Dr. S., xiii, 345. 

Lewer, 352. 

Lifu, 85, 88, 390. 

Lightning, 216, 384. 

Linao Moro string games, 43, 271, 336, 339, 340, 

39°- 
Li-sis, 12. 
Little boat, 361. 
Little boy carrying wood, 295. 
Little fish that hides in the mud, 291. 
Little fishes, 233. 
Lizard, 230. 

Lizard, Torres Straits, 337. 
Lochiel's dogs, leashing of, xxi, 116, 366, 375. 
Logaru-pilun, 188. 

Loyalty Islands string games, 2, 85, 88, 390. 
Lozenge, 391. 
Luchnow, xiii. 

M, 209. 

Mabuiag, 21, 39, 85, 337, 390. 

Mackenzie River, xx. 

Maclagan, Dr. R. C, xiii, 354. 

Magical significance of cat's-cradle, xxiii. 

Ma-hi-ki, 372. 

Ma-i-at-sani-il-watli, 60. 

Mai-i-atlsa-yill-aghueli, 60. 

Maita, 337. 

Makadok, 363. 

Makalii, xviii. 

Ma-ka-lii-hi, 24, 

Ma-ka-pe-na, 373. 

Makassars, string games of the, xiv, 2. 

Mallanapara blacks, 2. 

Malu fraternity, xvi. 

Man, 184, 371. 

Man and a bed, 192. 

Man climbing a tree, 376. 

Manger, xiv, 32Q. 

Man-jing, 2. 

Many stars, 48. 

Maori string games, 200. 



4°4 



INDEX 



Marshall Islands string games, 2, 367, 390. 

Maru, xviii. 

Mat, 367, 368, 369. 

Matthes, Dr. B. F., xiv, 1. 

Maui, xviii, xix, 2. 

Melanesian string games, xvii, xxi. 

Melang, 176. 

Men, ten, 150, 375. 

Men, ten, variations of, 156, 395. 

Methods employed in different countries, 3. 

Methods, explanation of, 4. 

Mianman, 2. 

Michelle, Charles, 24. 

Mimusops kaukii, xvii. 

Mirror, xiv, 326. 

Molenbeck-Brussel, xiv. 

Moguk, 360. 

Monan, xvii, 337. 

Money, carrying, 160, 375. 

Monocanthus, xvii. 

Moon, 383. 

Morkuru, 2. 

Moros, Linao, 43, 271, 336, 339, 340, 390. 

Motu string games, xvi. 

Mountain cat, xiii, 325. 

Mouse, xxii, 340. 

Mouth, xvi, 282. 

Mugalonik enuck okparuktuk, 361. 

Mugalonik okhozgiuk, 364. 

Mullet, 380. 

Murdoch, John, xix, 2. 

Murray Islands string games, xvi, xvii, xxii, 16, 

21, 32, 34, 39. 8 5> 233> 337, 34i, 39°- 
Musical instrument, xiii, 326, 332. 



Na-ash-klo, 2. 

Nageg, xvii, 96. 

Naki-hogan, 121. 

Nameless, 364. 

Name, No, 176. 

Names for string figures, 2, 3. 

Nantes, cat's-cradle at, xv. 

Nanvumcheseah, 362. 

Nar, 195. 

Nashoi-dichizhi, 230. 

Nas-ja, 53. 

Nathu, 301. 

Natik, 142, 150, 156, 158, 162, 176, 260, 389. 

Naun, 200. 

Nauru dandy, 371. 

Nauru priestess, 371. 

Nauru string figures, 367, 389. 

Nauru women of rank, 369. 



Navaho Indian string games, xx, 2, 12, 48, 53, 54, 
55. 5 6 . 5 8 . 6 °> 64, 65, 66, 121, 129, 133, 184, 
212, 216, 219, 222, 228, 230, 236, 243, 299, 
3i4, 34o, 3 8 7- 

Negritos of the Philippines, 339, 340, 390. 

Nekomata, 325. 

Nelson, E. W., xix, 2. 

Nest, bird's, 314, 378. 

Nest of the Ti-bird, 85. 

Net, xiv, xviii, 385. 

Net, Owl's, 69. 

Netherlands, cat's-cradle in the, xiv, 324. 

New Guinea string games, xvi, 1, 389. 

New Hebrides string games, xvii, 1, 2. 

New Ireland string games, xvii, 1. 

New mittens, 366. 

New Zealand string games, xviii, 2, 390. 

Ngaikungo blacks, 2. 

Ngatchan blacks, 2. 

Ngatik, see Natik. 

Nggerkudi blacks, 2. 

Nifi, 320. 

Nister, E., xiv. 

No Name, 176. 

Nomenclature employed, 5. 

Nomenclature devised by Drs. Rivers and Haddon, 
xii, 8. 

Nootka tribe of Indians, xxii. 

North Queensland string games, xv, xvi, xxi, 2, 
116, 150, 200, 375, 388, 389. 

Nunivak Island, Alaska, 360, 362, 364. 

Objects represented in string figures, 3. 

Oceanic opening converted into Asiatic opening, 

xxi. 
Oceanic type of string figures, xii, xv-xxii. 
O-ko-le-a-mo, 374. 
Omaha Indian string games, xx, xxii, 2, 204, 209, 

34°, 354, 3 8 7- 
One chief, 253, 375. 
One hogan, 243. 

Onondaga Indian string games, 2, 121, 387. 
Opening A, 11. 
Openings, definition of, 4. 
Origin of cat's-cradle, xxi. 
Origin of fire, 323. 
Origin of string figures, xx. 
Osage Indian string games, 2, 24, 28, 340, 350, 

387- 
Osage diamonds, 24. 
Osage two diamonds, 28. 
Ottobang, 276. 
Owl, 53. 
Owl, second, 54. 



INDEX 



405 



Owl, third, 55. 
Owl's net, 69. 

Pagi, xvii, 34. 

Pa-hi-o-lo, 374. 

Pah-rhu-la, 307. 

Palangan-im-mun-blos, 162. 

Palm tree, 195, 381. 

Pa-pi-o-ma-ka-nui-nui, 28. 

Papuan string games, xii, xvi. 

Paraguay, xx. 

Partington, Edge-, xvi, 34. 

Pa-tok-hpan, 325. 

Patterns, finished, 3. 

Pau-ma-wai, 373. 

Pawhuska, Oklahoma, 24. 

Pawnee Indian string games, xx, 2, 354. 

Philadelphia Free Museum of Science and Art, 
xxii, 12, 24, 28, 32, 48, 53, 56, 58, 60, 65, 66, 
121, 216, 228, 230, 301, 307, 372, 375. 

Philippines, string games in the, xiv, I, 43, 46, 

271- 3 2 4, 339, 34°, 39°- 
Pi-cho-wai, a-tslo-no-no-nai, 12. 
Pi-cho-wai, ham-pun-nai, 301. 
Pi-cho-wai, wai-lo-lo, 228. 
Pi-cho-wai-nai, 12. 
Picking up and taking off, xv, 324. 
Pig, xix. 
Pilun, 253. 

Pish-kap-po-a, pi-cho-wai-nai, 66. 
Pitching a tent, xxii, 32. 
Pleasant Island, 367. 
Pleiades, 56. 

Po, 373- 

Pocock, W. Innes, xvi, xxi. 

Point Barrow, xix. 

Polynesian string games, xviii, xxi. 

Poncho, 12. 

Porcupine, 137, 361. 

Port Moresby, xvi. 

Position, first, 10. 

Post, 372. 

Pou, 372. 

Pound, xiv. 

Pound of candles, xiv. 

Pouch, 376. 

Ptarmigans, two, 364. 

Pu, 374- 

Pueblo Indians, xx; see Tewas, Zuni. 

Pu-kau-la, 24. 

Pump, 373. 

Pygmy, African, string games, xxii, 1, 276, 340, 

386. 
Pygmy diamonds, 276. 



Qainchi, xiii. 

Qaqaqdjung, sesinging, 371. 

Rabbit, 79, 363. 

Rain, 384. 

Rattlesnake and a boy, 101. 

Rats, two, 377. 

Raven's feet, 366. 

Real cat's-cradle, xii-xv, 324. 

Reindeer, xix. 

Rice-mill pestle, xii, 332. 

Rio Araguaya, xx. 

River, 384. 

Rivers, Dr. W. H. R., xii, 1, 2, 8, 11, 16, 21, 32, 

34, 39> 8 5, 88 > 8 9, 233, 337, 341- 
Rocks, 384 
Rote, 282. 

Roth, Walter E., xv, xvi, 1, 116, 150, 200, 375. 
Runi-ka-fei, 160. 

Saguane, 89. 

Sang-tou-tou-ki, 325. 

St. Louis Exposition, xiv, 1, 2, 3. 

St. Michael, Alaska, 360, 363, 364, 365. 

St. Michael's Mission, Arizona, 12, 48, 53, 56, 58, 

60, 65, 66, 121, 216, 228, 230. 
Salish Indian string games, xii, xx, xxii, 2, 30, 32, 

388. 
Saw, xv. 
Saw mill, 356. 
Sawing wood, xiii, 324. 
Scarab, 390. 
Scales of crocodile, 381. 
Scales of iguana, 381. 
Schere, die, xv, 325. 
Schmeltz, J. D. E., xiv, 1. 
Scie, la, xv, 324. 
Scissors, xiii, xv. 

Scotland, string games in, 2, 116, 248, 390. 
Sea-cow, 39. 
Sea-egg spear, xxii, 32. 
Sea-gull, 362. 
Sea-snake, xvi, 34, 371. 
Sealskin carrying bag, 364. 
Setting sun, 21. 
Seven stars, 56. 
Shears, 251. 
Ship, 359. 
Shrimps, four, 381. 
Siberian House, 361. 
Sihnag, 88. 
Six-pointed star, 307. 
Skin, dressing a, 30. 
Skunks, two, no. 



406 



INDEX 



Sling, 12. 

Smythe, R. Brough, i. 

Smith, H. I., xii, xxii, 2, 30, 32. 

Smith, Lena, 12. 

Snake, 379. 

Snake, sea, xvi, xvii, 34, 371. 

So-bide-hulonni, 58. 

Soerabaja, xiv. 

Soi-noun-kal, 332. 

Soldier's bed, xiv, 325, 372. 

Soldier's bed again, xiv, 331. 

Solomon Islands string games, 1, 2. 

Son-bi-tere, 58. 

Songs with string figures, xvii, xix. 

Sono-tsihu, 228. 

Son-tlani, 48. 

South American string games, xx, 1. 

Spear, 376. 

Spear, fish, xxii, 32. 

Spear, four-pronged, 385. 

Spear, sea-egg, xxii, 32. 

Springer, Wallace, 204. 

Square, 392. 

Squares, xv. 

Squirrels, two, 114. 

Ssi-teu-ki, 324. 

Stairs, 362. 

Star, 21, 383. 

Star, big, 64, 65. 

Star, horned, 58. 

Star, north, 65. 

Star, six-pointed, 307. 

Star, two-horned, 58. 

Stars, Many, 48. 

Stars, three, 167. 

Stars, twin, 228. 

Stars, two, 129. 

Stephens, E., 2, 367. 

Storm clouds, 236. 

String figures, with songs, xvii, xix. 

String game, xv. 

Sun, 21, 82. 

Sun clouded over, 383. 

Sun setting on the horizon, 383. 

Sun with full rays, 383. 

Sunset, 21. 

Swatow, cat's-cradle, in xiii, 324. 

Sweden, cat's-cradle in, 324. 

Switzerland, cat's-cradle in, xiv, 324. 

Tak-tuk, 364. 
Taking-off, xiv, xv, 324. 
Taking-off strings, xv, 324. 
Tallow dips, 248. 



Tanana Indian string games, 358, 388. 

Tanganyika, Lake, xxii. 

Tawhaki, xix. 

Taylor, R., xviii, 2. 

Tc-c-kyack, 362. 

Teepee, Apache, 246. 

Teirlinck, xiv. 

Ten men, 150, 375. 

Ten men, variation of, 156, 395. 

Ten times, 271. 

Tenicheff, W., xix, 2. 

Tewa Indian string games, 2, 12, 48, 216, 307, 

388. 
Tezeuk, 363. 
Thilenius, xvi. 

Thompson Indian string games, xx, xxii, 2, 30, 32. 
Threading a closed loop, 354. 
Three stars, 167. 
Thumb catch, 350. 
Ti-bird, nest of the, 85. 
Tinamitto, 371. 
Tipstaff, 251. 
Tituchtak, 360. 
Tjye-ka-rak, 326. 
Tjyel-kou-kong-i, 332. 
Tlingit Indian string games, xx, 2. 
Toekd-toeka, xiv, 2. 
Tomahawks, two, 384. 
Torres Straits lizard, 337. 
Torres Straits string games, xi, xii, xvi, xxii, 1, 

16, 21, 32, 34, 39, 85, 96, 129, 192, 195, 233, 

337, 34i, 348, 3S 2 , 375. 390- 
Tortoise, 380. 
Trap, 365. 
Tree, 381. 

Tree, palm, 195, 381. 
Tregear, Edward, xix, 2. 
Triangles, Caroline Islands, 158. 
Triangles, circles and, 146. 
Tricks, 4, 337. 
Trigger fish, xvii, 96. 
Trousers, 248. 

Tsimshian Indian string games, xx, 2. 
Tslem-pis-to-nai; pi-cho-wai-nai, 375. 
Tsun-tsi, 65. 
Tsuzumi, 332. 
Tuk-tuk, xix, 365. 
Tuktuqdjung, 124. 
Tup, xvii, 233. 
Turner, W. Y., xvi, 1. 
Turtle, 150, 265, 271, 379, 380. 
Tutumukaligat, 362. 
Twin stars, 228. 
Two boys carrying spears, 376. 



INDEX 



407 



Two boys fighting for an arrow, 317. 

Two chiefs, 188, 375. 

Two cockatoos, 378. 

Two coconuts, 382. 

Two coyotes, 60. 

Two dolphins, 393. 

Two elks, 74. 

Two Eskimos running away, 361. 

Two foxes, 114. 

Two fish, 380. 

Two hogans, 116, 121. 

Two-horned star, 58. 

Two little boys running away, 287. 

Two men, 359. 

Two men walking down a valley, 376. 

Two mountains and a stream, 360. 

Two ptarmigans, 364. 

Two rats, 377. 

Two rocks, 384. 

Two skunks, no. 

Two squirrels, 114. 

Two stars, 129. 

Two tomahawks, 384. 

Two white cranes, 378. 

Two women fighting with sticks, 376. 

Tying dogs' feet, 116. 

Tylor, E. B., xx. 



U, 195- 

Uap, string games in, 160, 167, 176, 188, 200, 253, 

265, 271, 320, 337, 339, 346, 354, 389. 
Ukaliaqdjung, 371. 
Ulungu string games, xxii, 116, 386. 
Umai, xvi. 
Umano-me, 332. 
Umiakbuk, 359. 
Umuzwa, xxii, 116. 
Upena, 374. 
Ussuqdjung, 127. 



W, 204. 

Waioli, xviii. 

Wai-u-)a-wa, 373. 

Wajiji, xxii, 341, 386. 

Wallaby, 376. 

Wallace, Alfred R., xiii, 1. 

Wangai plum, xvii. 

Wasp's nest, 381, 385. 

Wasser, xv, 325. 

Water, xv. 

Water-snake, 379. 

Wed, xvii. 

Weir, Dr. H. H., xii, 1. 

Well, 85. 

Well-rope, xiii, 324. 

Whai, xix. 

Whale, xiv. 

Whale and fox, 363. 

White cranes, two, 378. 

Wiege, die, xv, 329. 

Will you have a yam? 352. 

Witch's game, xv, 324. 

Wolf, xix, 361, 371. 

Wolverine, 361. 

Woman, 381. 

Woman, Nauru, 368. 

Women of rank, 369. 

Wood, carrying, 66. 

Wood in soles of clogs, xiii, 327. 

Wood, little boy carrying, 295. 

Wooden spoon, xxii, 116. 

Woof pattern string-taking, xiii, 324. 

Woof-taking, xii, 324. 

Worm, 222. 

Worm, second, 299. 

Wormer, xvi, 2. 

Yam, will you have a? 352. 
Yams, 382. 
Yirma, 2. 



Value, ethnological, of string figures, 3. 

Variation of coral, 393. 

Variation of crab, 394. 

Variation of real cat's-cradle, 336. 

Variation of ten men, 156, 395. 

Vo-pi-ri-dai, 216. 



Zah Tso, 54, 60, 184. 
Zaroff, chief, 282, 308. 
Zamia nuts, 382. 
Zamia tree, 382. 
Zia Uddin Ahmad, xiii. 

Zuni Indian string games, xxii, 2, 12, 32, 66, 228, 
301, 375> 388. 



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